Monday, April 18, 2011

Gnomeo & Juliet


CAST: James McAvoy, Emily Blunt, Michael Caine, Jason Statham, Maggie Smith, Patrick Stewart, Ashley Jensen, Jim Cummings, Richard Wilson, Julie Walters; DIRECTOR: Kelly Asbury; WRITERS: Kevin Cecil, Andy Riley; GENRE: Animation, Family, SciFi/Fantasy; RUNNING TIME: 84 minutes.

Technical Assessment: 4
Moral Assessment: 3.5
CINEMA Rating: Audience all Ages


Is this animated Shakespeare? Not really. Although the title is a takeoff from "Romeo and Juliet" most of the characters in Gnomeo & Juliet are garden gnomes in the yards of English homes. We know this is England because we glimpse a bus whose destination is Stratford on Avon. These gnomes have obviously been sneaking off to the movies while their human owners were not looking. And they have been watching the Toy Story series because they do the same thing, have a life of their own but go into their expected poses as soon as humans turn up.

What might make Gnomeo & Juliet more enjoyable for film buffs is the strong voice cast. James McAvoy and Emily Blunt are the starcrossed lovers and Michael Caine is plain to hear as Juliet’s father. You have to listen quickly to catch Julie Walters and Richard Wilson as the human Capulets and Montagues. There is a monstrously huge mower, called the Terrafirmanator, obtained by a computer savvy gnome, Benny (Matt Lucas)—and it is ‘voiced’ by wrestler Hulk Hogan. Someone for everyone! Even a Hispanic-sounding flamingo from the garden. (And a nice trivial pursuit question: what film did Maggie Smith and Jason Statham appear in together? Here it is, she Gnomeo’s mother and he the rather typecast Tybalt.)

Yes, we know what is going to happen, but it is entertaining to see how this entertainment for children incorporates Shakespeare. And, yes, the soundtrack replete with familiar melodies is a collection of Elton John and Bernie Taupin songs because the film is a product of Elton John and David Furnish who have turned their attention to children.

Monday, April 11, 2011

The Roommate


CAST: Leighton Meester, Minka Kelly, Danneel Harris, Cam Gigandet, Alyson Michalka, Matt Lanter, Frances Fisher,Katerina Graham, Tomas Arana, Cherilyn Wilson; DIRECTOR: Christian E. Christiansen; WRITER: Sonny Mallhi; GENRE: Suspense/Thriller, Drama; RUNNING TIME: 93 minutes

Technical Assessment: 2.5
Moral Assessment: 2
CINEMA Rating: For viewers age 18 and above.


Pretty girl from Des Moines, Iowa, Sara (Minka Kelly) goes to college in Los Angeles. The roommate she gets at the dorm is Rebecca (Leighton Meester), an only child of wealthy parents. Rebecca turns out to be a nice girl-next-door type, supportive of Sara, shows her the sights in town, offers her wardrobe for Sara to borrow anything from, and even consents to her bringing in a forbidden pet into their room. Sara is grateful that college would be bright with such a roommate around, until Rebecca begins to know her friends. When she comes in late without calling, Rebecca gets mad. When an ex-boyfriend hounds Sara, Rebecca makes sure he keeps away—she has become a little too possessive.

The Roommate is another of those countless movies about psychotics, and naturally extremely violent. It’s a relief, however, that despite the mad killings and vicious attacks on persons practically no blood is shown, and physical combats are limited to what’s possibly human, without CGI to show more super human violence for its own sake. The cinematography is better than most movies of this genre display, and the music appropriately keeps the viewer in tension. The actors, while not that well-known yet, also do justice to their roles considering the limited depth of the characters they portray The story is rather flat, offering no justifiable motivation for Rebecca's behavior, for example, or adequate emotional depth in the her parents' regard of her situation.

Filipino parents with college age children might worry thinking whether the lifestyle of the American college teens isn’t yet being adopted by their children. The movie shows them at parties where booze flows freely and sex at first meeting is an expected part of the party package. You might also wonder what The Roommate is trying to tell us by its underscoring of the wild side of college kids—they are quite too often shown dancing, flirting, and drinking until they’re too toxic to walk home, but never shown poring over books. The only library scene is done more as a scare tactic than anything else. Parents—although by themselves they seem refined—are shown to be powerless over a stubborn daughter. A male teacher bribes a female student to take an “official” trip to Paris. Girls sleep with their boyfriends or engage in lesbian sex in total disregard of what their elders might say. This story delivers no moral lesson, nor does it give direction to young people towards a better life. But maybe you’ll come out of the theater hoping your kids will never imitate these ones!

Sunday, April 3, 2011

Catch Me... I'm in Love


CASTt: Sarah Geronimo, Gerarld Anderson, Matteo Guidecelli, Ketchup Eusebio, Arlene Muhlach, Joey Marquez, Christopher de Leon, Dawn Zulueta; DIRECTORr: Mae Czarina Cruz; SCREENPLAY: Mel Mendoza del Rosario ; PRODUCER/ DISTRIBUTORr: Star Cinema ; LOCATION: Manila; GENRE: Romantic Comedy; RUNNING TIME:105 minutes

Technical Assessment: 2
Moral Assessment: 3
CINEMA Rating: For viewers ages 13 and below with parental guidance


Si Roan (Sarah Geronimo) ay nagmula sa isang simple ngunit masayahing pamilya. Nagtatrabaho siya sa isang NGO (Non-Government Organization) na tumutulong sa mga mahihirap na pamilya sa probinsiya. Si Erick (Gerard Anderson) naman ay ang nag-iisang anak ng presidente ng Pilipinas (Christopher de Leon) na kababalik lamang mula Amerika kung saan siya ay nagtapos ng isang kurso. Palibhasa’y lumaki sa luho at may hinanakit sa ama, kakikitaan ng kawalang-direksiyon sa buhay si Erick ng kanyang ama. Sa isang kakatwang insidente ng pagtatagpo nina Roan at Erick ay makakaisip ang ama ni Erick ng paraan kung paanong maturuan si Erick na magkaron ng direksyon sa buhay. Papupuntahin si Erick ng kanyang ama sa probinsiya upang makihalubilo sa mga uring magsasaka. At dito ay papasamahin siya kay Roan. Hindi magiging magkasundo ang dalawa sa umpisa. Ngunit kalaunan di’y magkakahulugan ng loob ang dalawa. Ngunit hindi pala magiging madali para kay Roan ang maging kasintahan ng anak ng may pinakamataas na tungkulin sa bansa.

Kung tema ang pag-uusapan ay medyo luma at gasgas na ang kuwento ng Catch Me I’m in Love. Bago sanang maituturing na makasilip ang manonood ng kathang-isip na kuwento patungkol sa Unang Pamilya ng Pilipinas ngunit sa kabuuan ay pawang wala namang bagong nasabi ukol dito. Hindi rin ramdam ang laki ng konsepto ng pelikula. Pawang pinilit at pinababa nilang lalo ang opisina ng Pangulo ng Pilipinas. Pawang hindi tugma ang mraming bagay sa pelikula at nangunguna na rito ang kakulanga ng tinatawag ng “chemistry” ng dalawang tauhan. Ang papel na ginampanan ni Gernonimo ay tila kaparehas na lang mga nauna pa niyang pelikula. Sa maraming pagkakataon ay lumalaylay ang mga eksena sa pelikula at tumatamlay ang interes ng mga manonood dito. Maayos naman ang pagganap ng mga tauhan ngunit sadyang walang maramdaman sa kabuuang daloy ng kuwento. Masyadong naging mababaw ang dating ng materyal na dapat sana ay mayabong at malalim kung napagtuuan lamang ng pansin.

Marami namang aral na inihain ang pelikula. Nariyan ang patungkol sa pagmamalasakit sa kapwa at pag-iisip ng kapakanan ng iba bago ang sarili. Kita ang mahalagang papel na ginagampanan ng pamilya at magulang sa pelikula. Pinatunayan lamang nito na ang pamilya pa rin ang humuhubog ng pundasyon ng isang pagkatao. Ang dalawang pangunahing tauhan, bagama’t magkaiba ng estado sa buhay ay parehas napalaki sa maayos na pamilya kung kaya’t maituturing silang magandang halimbawa. Mahalaga ring tingnan kung anong buti ang maidudulot ng pagmamahal sa pelikula. Sa pagmamahal sa kapwa ay sumusunod na rin ang pagmamahal sa Diyos at bayan. Ang tunay na pagmamahal ay nakakapagpayabong sa isang pagkatao at nagagawa nitong possible ang mga bagay na inaakala nang imposible katulad ng pagbabago ni Erick sa pelikula na tumubo lamang dahil siya’y pinagmalasakitan ni Roan. Ang tunay na pagmamahal ay ang pag-iisip sa kapakanan ng minamahal bago ang sarili. Ito ang maliwanag na ipinakita ni Roan kay Erick lalo na sa mga panahong nahihirapan siyang makisabay sa uri ng pamilya at mga kaibigan ni Erick. Sa kabuuan ay hitik sa magagandang aral ang pelikula at sinasabi nitong ang pagmamahal ang pinakahigit sa anu pa man na nais nating magkaroon sa buhay na ito- yaman, kasikatan, kapangyarihan.

Sucker Punch


CAST: Emily Browning, Abbie Cornish, Jena Malone, Vanessa Hudgens, Jamie Chung, Carla Gugino, Jon Hamm, Oscar Isaac, Scott Glenn, Vicky Lambert; DIRECTOR: Zack Snyder; WRITER: Zack Snyder; GENRE: Action/Adventure, SciFi/Fantasy, Suspense/Thriller; RUNNING TIME: 120 min.

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


SYNOPSIS: "Sucker Punch" is an epic action fantasy that takes us into the vivid imagination of a young girl whose dream world provides the ultimate escape from her darker reality. Unrestrained by the boundaries of time and place, she is free to go where her mind takes her, and her incredible adventures blur the lines between what's real and what is imaginary. The IMAX release has been digitally re-mastered into the image and sound quality of The IMAX Experience with proprietary IMAX DMR (Digital Re-mastering) technology.

The Lincoln Lawyer


CAST: Matthew McConaughey, Marisa Tomei, John Leguizamo,Ryan Phillippe, Michaela Conlin, William H. Macy, Margarita Levieva, Katherine Moennig, Michael Paré, Michael Peña; DIRECTOR: Brad Furman; WRITER: Michael Connelly, John Romano; GENRE: Drama; RUNNING TIME: 119 min.

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


Criminal Lawyer Mickey Haller (Matthew Mclonaughney) is the defense counsel of Louis Roulet (Ryan Philippe), a son of a rich family in Los Angeles who is charged of assaulting a woman prostitute. Haller asks his friend, a private invetigator Frank Levin (William Macy) to help him in the investigation for the merit of the case. As a lawyer, Haller expects Louis to cooperate primarily by confessing the whole truth to enable him to better prepare for his defense argument. Whilst Louis admits he was at the scene with the woman, he consistently denies doing the crime. The problem is Louis cannot tell everything because his narration includes that he passed out when someone attacked him from behind disabling him to recall what happened next. As the case progresses, Haller starts to doubt the credibility of his client because of more discoveries in the investigation of Levin. Unfortunately, even before Haller arrives at the conclusion, circumstances already claim the life of his friend Levin. Haller is convinced that Louis is the real culprit but as a lawyer his job is to defend his client. Realizing the deceiving attributes of Louis, Haller knows his former wife Maggie Mcpherson (Marissa Tomel) and 7-year old daughter can be the next target after his friend Frank.

“Lincoln Lawyer” offers the usual investigative story. However, it unusually focuses on the struggles of a lawyer about the truth, ethics of law profession and personal concerns instead of the crime. The director does a good job in the treatment of unconventional theme of a simple investigative crime story. It builds up interest as film progresses towards climax and conclusion. The acting particularly that of Mclonaughney and Philippe are commendable. The lines are well-delivered and so are the facial expressions. The frequent close-up shots of faces and items (i.e crime evidences, car plate number, hand gestures, sex scenes) encourages the viewers to look through the details and gets closer to the characters of the film. Other than the use of close-up camera angle, there is not much to say about the cinematography. The settings are also limited. Somehow, the viewers may wonder why discussion over sensitive matters of the case is done at public places like park. And why a lawyer like Haller seems to be holding "office" inside his car. But the lights and sounds are good compliments of the film.

Every profession has corresponding ethics to observe and doing so gives dignity to the work. In the case of law profession especially when at the side of defense it is the duty of a lawyer to prove the innocence of the client. The film "Lincoln Lawyer" shows how a lawyer struggles to succeed
in defending a guilty person. But he also makes sure that he is not off the hook and chain of future similar crimes by the same persion should stop. At the end of the day crime should pay and justice must be served. For the most part, the film speaks about dignity at work, concerns for friends, and respect and caring for love ones. But the film also has the tendency to be insensitive on woman prostitutes and the media person who received money out of bribery.

Monday, March 28, 2011

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.

Friday, March 25, 2011

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.

Saturday, March 19, 2011

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.