Lihis

LEAD CAST: Jake Cuenca, Joem Bascon, Isabelle Daza, Lovi Poe, Gloria Diaz, Racquel Villavivencio  DIRECTOR:  Joel Lamangan  SCREENWRITER:  Ricky Lee  PRODUCER:  Film Development Council of the Philippines (FDCP)  GENRE: Drama  RUNNING TIME:  100 minutes  DISTRIBUTOR:  FDCP  LOCATION:  Philippines

Technical assessment:  2

Moral assessment:  2

MTRCB rating:  R 16

CINEMA rating:  V 18  (For viewers 18 years old and above)

Magbubukas ng Lihis ang ilang sandaling dokumentaryo na nagpapakita ng mga kabuhungang nangyayari noong dekada 80, at magsasalit-salit iyon at ang mga eksena ng mga pangyayaring magaganap makalipas ang 20 taon.  Kabilang sa samahang NPA sila Ka Jimmy (Jake Cuenca) at Ka Felix (Joem Bascon) noong panahon ng kaguluhan, at magkakaibigan sila kahit batid nilang mahigpit na ipinagbabawal ito ng samahan. Hahadlang sa pag-iibigan ng dalawa ang pagdating ni Jasmin (Lovi Poe), isang volunteer na tangkang magtagal sa samahan nang dalawang linggo lamang  ngunit mapapaibig at papakasalan ni Ka Felix.  Taong 2006, ang estudyanteng si Ada (Isabelle Daza) ay magsasaliksik naman para sa kanyang ginagawang thesis tungkol sa isang massacre na nangyari sa Barrio Acacia.  Dito niya matutuklasan ang tunay na pangyayari noong panahong iyon na pilit itinatago sa kanya ng kanyang inang si Cecilia (Gloria Diaz).

Maganda at maayos ang simula ng Lihis, bagama’t gasgas na ang mga eksenang ipinakikita nito.  Marami-rami na ring mga pelikula ang namuhunan sa mababaw na pagtalakay sa kasaysayan noong panahon ng Martial Law sa Pilipinas, at hindi naiba rito ang Lihis, bagay na nagpakulay-propaganda dito.  Sapat ang husay sa pagganap na ipinakita ng bagitang si Daza, higit siyang palagay sa harap ng kamera kaysa sa kanyang ina sa tunay na buhay, si Diaz, na minsa’y magaling at minsa’y hilaw ang pagganap.  Pasable na rin ang pag-arte ni Poe, bagama’t hindi ganoong kalaki ang hamon ng kanyang papel.  Kakatwang panoorin ang dalawang kilalang machong aktor (Cuenca at Bascon) na kumikilos nang salungat sa kanilang imahen bilang mga artista, ngunit naitawid naman nila nang kapani-paniwala ang kani-kaniyang papel.  Maliban nga lang sa masyadong malinis at maporma ang mga rebeldeng bida: sosyal ang tabas ng buhok, naka-gel pa yata, style gumamit ng tubaw sa ulo man o sa leeg, at ang pananamit ay sunod na sunod sa uso ngayon, hindi naglalalayo sa mga modelong nasa billboards sa EDSA—samakatuwid, hindi tapat sa panahon ng istorya.  Pero ang pinakamalaking problema ng Lihis ay ang kanyang pahatid na mensahe.  Malabo.

Sa pagbabalik-tanaw sa mga mabibigat na isyu noong panahon ng Martial Law, at sa pagtatakda sa underground movement bilang mundo ng mga pangunahing tauhan, ano ang ninais tumbukin ng Lihis?  Na sila ay may matinding pagmamahal sa bayan at hangaring sagipin ito sa tiyak na kapahamakan?  Sa paglalarawan ng bawal na pag-ibig, gusto bang sabihin ng pelikula na walang hihigit pa sa kapangyarihan ng laman para alipinin ang tao?  Kung hangad ng Lihis na pag-alabin ang damdaming ng manonood upang mahalin ang Inang Bayan, lumihis ito sa kaniyang pakay, pagkat higit na maigting ang paglalahad nito ng ugnayang namamagitan sa dalawang lalaki kaysa kanilang ipinaglalaban para sa bayan.

Noong namalas ng CINEMA ang  dokumentaryong nagbukas sa Lihis, naisip naming “Siryoso ito, mukhang malaman!”  Ngunit noong mangyari na ang unang “sagupaan” ni Ka Jimmy at Ka Felix, naisip naman namin, “Ganoon lang?  Ganoon bang kasimple yon?”  Sa una kasi’y ipinakita ang init ng kanilang mga pagtatalo sa mga pulong, na halos magsuntukan na sila, iyon pala’y eskrimahan ang totoong gusto nila.  Nagsuntukan; nang magkadaganan, nauwi sa halikan; at nagtuluy-tuloy sa pukpukan.  Sa tantiya ng CINEMA, ginamit lamang na “sasakyan” ng Lihis ang Martial law setting upang patunayan na masidhi sa lahat ang tawag ng laman—higit na makapangyarihan kaysa sa mga pinakamatayog na adhikain ng tao.  Sa gayon, tila “nabakla” ang layunin ng Lihis. 

“Mapagbigay” ang pelikula sa relasyon ng dalawang lalaki—ito ang naging pananaw ng CINEMA gawa ng mga katanungang hindi masagot sa Lihis.  Kung mahigpit na ipinagbabawal ang ganoong uri ng relasyon sa NPA, bakit hindi iwinawasto ng mga kasamahan nila ang dalawa samantalang “marami nang nakakahalata” sa kanila?  Kung higit na mahalaga kay Ka Jimmy at Ka Felix ang kanilang ipinaglalaban sa bayan, bakit hindi nila inuuna ito sa lahat?  Walang ipinakikitang isinasakripisyo ang sariling pagnanasa alang-alang sa pagsulong ng layunin ng samahan.  Sa katunayan, alipin sila ng “init” nila sa isa’t isa: sa liwanag ng araw, sa ilog, hantaran silang gumagawa ng bawal—hindi na ba nila naisip na baka may makakita sa kanila, kasama man nila o mga taga-nayon na maliligo o maglalaba sa ilog—bagay na makakapula sa pangalan ng samahan?  Kung hindi lamang laman ang ugat ng kanilang pagkaka-akit sa isa’t isa, bakit hindi man lamang sila ipinakikitang nag-uusap nang matimtiman tungkol sa kanilang pag-ibig sa bayan at malasakit sa kapwa?

Maging ang buong-loob na pagkarahuyo ni Jasmin kay Ka Felix hanggang sa pakasalan siya nito ay hindi masasabing nagmumula sa tunay na pag-ibig kungdi sa kagustuhan lamang patunayan ng babae na wala siyang ginustong hindi napasakanya.  At nang mapasakanya na nga, sa kabila ng pagkakaroon ng maayos na buhay at pamilya ni Ka Felix, mabibitag pa itong muli sa matinding pagtugis ng lumuluha at nagdurusang Ka Jimmy.  Kakatwa na pati na ang ina ni Ka Jimmy ay naging kunsintidora; ni hindi niya pinaalalahanan ang anak na layuan ang lalaking may pamilya—and mahalaga sa kanya’y maligaya ang kanyang anak, tapos.

May mga naulinigan kami sa sinehan na nag-aabang sa mga eksena ng pagtatalik ng dalawang lalaki.  “Tatlong eksena daw iyon,” sambit nila, at dumating nga ang tatlong eksena, tatlong eksenang hindi namin inakalang buong-layang ipapalabas sa mga sinehan ng SM Malls na hindi diumano nagpapalabas ng mga pang-adults.

Hindi ikinakaila ng CINEMA na may mga taong “lihis” ang kagustuhang seksuwal, at ang mga ito’y matatagpuan kahit na sa mga samahang tulad ng NPA, militar, o Simbahan, sa anumang relihiyon.  Hindi nanghuhusga ang CINEMA batay sa kasarian ng tao, ngunit nais ipagpalagay ng CINEMA na ang pinilakang tabing ay may kapangyarihang mag-angat ng kalagayan at kamalayan ng tao.  At ang isang paraan upang maisakatuparan ito ay ang pagpapakita na mayroon pang mga bagay na higit na mahalaga kaysa pangsariling kasiyahan, lalu na’t kung ang kasiyahang ito ay nagiging sanhi lamang ng higit pang malaki, marami, at malalang mga suliranin. 

Lovelace

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The mule

LEAD CAST:  Sharon Stone, Billy Zane, Rosenberg Salgado, Miquel Rodarte  DIRECTOR: Gabriela Tagliavini  SCREENWRITER:  Don Fiebiger & Amy Kolquist  PRODUCER:  Lucas Jarach  EDITOR:  James Coblentz  MUSICAL DIRECTOR:  Emilio Kauderer, Sebastian Kauderer, Marco Werba, Ana Barbara  CINEMATOGRAPHER:  Andrew Strahorn  GENRE:  Drama RUNNING TIME:  96 minutes  DISTRIBUTOR:  Wanda Vision S.A.  LOCATION:  Los Angeles, California, USA

Technical assessment: 3

Moral assessment: 2

MTRCB rating:  R 13

CINEMA rating:  V 18  (For viewers 18 years old and above )

Sofie (Sharon Stone) is a TV news reporter for a conservative television news station. When she calls up her brother Aaron (Billy Zane) one night, she hears gunshots on the other end. Fearing for the life of her brother, Sofie goes all the way to Mexico where her brother works to track him down. She learns that her brother has been involved in some illegal operations that brought in illegal immigrants (who attempt to cross the border from Mexico) into the United States. Her search leads her into joining a group of Mexicans trying to get across the border. In no time, she starts to discover and witness for herself the harsh realities that these immigrants are going through—that these trips are rather dangerous, and much worse, these operations are linked to the region’s most dangerous drug cartels.

The Mule could have been an attempt to expose the plight of illegal immigrants in the United States, but it utterly fails in its execution as it merely focuses on the journey of a white American woman in search of her brother. This has put the main core of the issue into the backdrop. The story seems compelling at the start but it does not go beyond the soap operatic conventions of melodrama and thriller. But then, the film’s realistic approach effectively captures the audience’s emotions—making their hearts go for the marginalized characters. However, some unnecessary plot innuendos distract the film’s central theme. The love angle seems out of place and the villainous portrayal goes beyond believable and borders on the laughable. Sharon Stone’s acting tends to be bigger than what is supposed to be, making the film devoid of any subtlety to put the message across. Still The Mule is able to once again open a seemingly relevant issue of the times and could still be worth the audience’s while.

The Mule has this ambition of depicting the realities of illegal immigrants in the most realistic way possible. Thus, the darkness and grit are depicted to the fullest extent way beyond the imagination.  The result disturbs both the heart and the mind of the audience as they are exposed to the harsh realities of the link between poverty and migration. However, the film may have gone a little bit too far and CINEMA fears that younger audiences may be desensitized by the images of gore and violence. Although at the core of the story is the fraternal love that propels a woman’s quest for truth, and towards the end, amidst deception, love prevails; still the darkness, vulgar language, and horror in the film is so powerful that it may shake young audiences’ values and faith in the humankind, leading them to question, “If such a violent, heartless world really does exists, where is God amidst all these?” The film subtly depicts the characters as coming from a deeply religious region, (one character wears a shirt with the image of Our Lady of Guadalupe), but God seems to have no place in this world where money and worldly ambitions rule. In the film, humans act and are treated like animals. There is utter disrespect for women and children. Such depictions may be taken into the context of dark realities but such darkness may crush the spirit of the young rather than inspire, so CINEMA deems The Mule as suitable only for mature audiences ages 18 and above.

The conjuring

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LEAD CAST: Vera Farmiga, Patrick Wilson, Ron Livingston, Lili Taylor  DIRECTOR:  James Wan  SCREENWRITER: Chad Hayes, Carey Hayes  PRODUCER:  Tony DeRosa-Grund, Peter Safran, Rob Cowan  EDITOR:  Kirk M. Morri  MUSICAL DIRECTOR:  Joseph Bishara  GENRE: Mystery & Suspense, Horror, Thriller  RUNNING TIME:  112 minutes  CINEMATOGRAPHER:  John R. Leonetti  DISTRIBUTOR:  Warner Bros.  LOCATION:  US

Technical assessment:  4

Moral assessment:  3.5

MTRCB rating: R 13

CINEMA rating:  V 14

            Based on a true story involving real-life demonologists, husband and wife team of Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), The Conjuring revolves around the experience of a working class couple Roger and Carolyn Perron (Ron Livingston and Lili Taylor) and their five daughters, Andrea (Shanley Caswell), Nancy (Hayley McFarland), Christine (Joey King), Cindy (Mackenzie Foy), and April (Kyla Deaver).  The Perrons have just moved into their “dream home”, a bargain of a house by a lake somewhere in New England.  Having poured all their savings into their new dwelling, Roger and Carolyn are unwilling to move out of it even when inexplicable and eerie things start to happen in the house.  When the happenings increasingly disturb and then terrorize them, the Perrons call in the Warrens to help.

            In spite of The conjuring being generally classified as a horror movie, in reality it offers much more than just jump-scare scenes.  Those who expect to see a horror-horror movie will ignorantly compare The Conjuring to possession movies like The Exorcist and others in the same genre.  True, it is armed with the usual accouterments horror movies have employed through the ages—the creepy doll, doors opening and closing by themselves, the mysterious armoire, the basement with its resident evils—but its intensity derives from suspense and precisely timed boo moments, not from blood flood or victims with spinning heads and spewing avocado puree.  Which only goes to show that director James Wan  (Saw, Insidious) knows what he’s doing.  Supported by a well-researched script, masterful camerawork, and memorable acting, The conjuring emerges as a credible, respectful and well-balanced representation of a real life episode.

            In order to fully grasp the validity of The conjuring as an informative film based on a true story, viewers must pay attention to what is spoken and what is written on the screen.  As director Wan thoughtfully portrayed in The conjuring, the Warrens are devout Catholics who are obedient to the Magisterium and sincerely believe that God brought them together for a purpose.  The real Ed and Lorraine Warren were not exorcists: Ed (deceased) was the “only non-ordained demonologist recognized by the Catholic Church”, and Lorraine has psychic gifts that enable her to see non-human entities and to intuit victims’ emotional states, among other things.  The husband-and-wife team would be called upon to give talks and investigate suspected paranormal activities, mostly in northeastern United States.  As The conjuring shows, they are serious researchers and are rational about their work, always aiming to discover natural, explicable causes behind seemingly supernatural occurrences.  (A particular instance in the movie shows them coolly explaining to terrified clients that creaking wooden floors do not always mean a haunting or demonic possession.)  Only after natural causes are ruled out and manifestations turn demonic would the Warrens request an exorcism to be properly done by a priest.

            The exorcism (spoiler!) attempted by Ed must be explained.  It is spurred by the circumstances, not a presumptuous shot at disobedience to the Church.   The Warrens knew they should not be doing it but seeing they could no longer stop Carolyn from hurting herself and others, Ed, encouraged by Lorraine, proceeded with the rites, going through the motions and reading the Latin text with an American twang, startled but kept up on his feet.  His effort to rid the woman from what they had come to believe was the devil is much like what a drowning person does—holding on to a the tail of the shark in the hope of being saved.  Lest we give you more spoilers at this point, suffice it to say that The conjuring highlights the power of faith in God and compassion between humans to thwart evil in this world.

Mortal instruments

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Cast: Lily Collins, Jamie Campbell Bower, Robert Sheehan, Kevin Zegers, Lena Headey, Kevin Durand, Aidan Turner, Godfrey Gao; Direction: Harald Zwart; Story: based on Cassandra Clare’s novels; Screenplay: Jessica Postigo Paquette; Cinematography: Geir Hartly Andreassen;   Editing: Michael Kahn; Music: Atli Orvarsson; Producers: Don Carmody, Robert Kutzer; Genre: Fantasy-Adventure- Teen Romance; Running Time:130 minutes  Location: New York, USA; Distributor: Sony Pictures

Technical assessment: 3

Moral assessment: 2.5

MTRCB Rating: PG13

CINEMA Rating: V18

Jocelyn (Headey) and husband Luke (Turner) seem to be a normal couple trying to raise a stubborn teenage daughter Clary Fray (Collins). But when Clary becomes unconsciously obsessed with a certain rune, Jocelyn becomes alarmed and realizes their family secret is about to be discovered. On the same night, Clary takes nerdy best friend Simon (Sheehan) to a night club where she witnesses three Goth teenagers murdering one of the guests. The following day, she sees Jace (Bower), one of the Goth murderers, outside a café while she talks with Simon. She decides to confront the stalker and simultaneously receives a distressing call from her mother being attacked and asking her not to come home. Clary ignores her mother’s instructions and rushes home. She finds their house in disarray and her mother missing. A demon-mutant dog attacks her but fortunately Jace arrives and saves her from being torn into pieces. Clary and Simon are taken by Jace to an abandoned church in the middle of New York. They learn that Jace is a Shadowhunter—a half-human, half-angel warrior trained to hunt demons—and Clary, like her mother, is one as well. Apparently Clary’s memory and powers were blocked when she was a child to protect her from Valentine, a rebel Shadowhunter who wanted to create a stronger breed of warriors to rule to world. She learns that her mother ran away from Valentine and has hidden the Mortal Cup to thwart his plans. Now it is up to Clary to discover her true self, retrieve the missing Mortal Cup, save her mother, and stop Valentine.

         The movie adaptation of Cassandra Clare’s best seller dismally fails to capitalize on another teenage fantasy romance.  Audiences who are not familiar with the book will not be able to keep up with the many sub-plots and foreshadowing. Neither the storyline nor the different characters were clearly explained nor given proper resolutions. For example, it is not clear where a Shadowhunter is immortal or not, and, who is Magnus Bane? While the battle sequences are action-packed and stimulating they are not enough to resuscitate the movie from the narrative’s dull development and predictable screenplay. The actors may have been physically perfect for the part but are just deadweight in their thespic interpretations. Collins gives a monotonous performance, Bower has the same deadpan expression all throughout and Meyers is simply unbelievable in his evil quest. The premise by itself is promising with a darker storyline and richer context but director Zwart failed to successfully translate the book into film. Even the romance part is unsuccessful and makes even the love struck target market cringe in its cheesiness.

         Mortal instruments tackles the same coming of age discovery that he/she is meant to do something unequivocally important for humanity and lead the ultimate battle between good and evil. It could be said that with people working together and setting aside differences, good will always triumph. However, the movie has some disturbing subplots. For instance, there are undertones of homosexuality in reference to Alec and Magnus. While the homosexual relationship between the two will still be developed in the sequel, parents might not be too happy with protagonist heroes openly engaging in homosexual relationships. Secondly, and more central to the main storyline is the forbidden romance between siblings Clary and Jace. Interestingly, MTRCB issued an advisory against violent fight scenes which were actually tolerable and non-graphic but failed to note the abovementioned issues.

Bakit hindi ka crush ng crush mo?

Cast: Kim Chiu, Xian Lim, Ramon Bautista, Freddie Webb, Kean Cipriano; Director: Joyce Bernal;  Producer: Star Cinema; Running Time: 110 minutes; Genre: Romantic Comedy Location: Manila

Technical assessment: 3

Moral assessment: 2.5

CINEMA rating: for viewers 14 years old and above

            Makikipag-break kay Sandy (Kim Chiu) ang boyfriend (Kian Cipriano) nito sa kanya sa kanilang anniversary.  Dahil sa matinding pagkabigo at pagkawasak ng puso, magiging depressed ng todo si Sandy at maaapektuhan ang kanyang trabaho. Ang boss naman niyang si Alex (Xian Lim) ay kababalik lang galing Amerika mula rin sa matinding pagkabigo. Masisisante si Sandy sa trabaho ngunit kukunin siyang muli ni Alex. Magkakaroon sila ng kasunduan: tuturuan ni Alex si Sandy na makabangon mula sa pagkabigo kapalit ng pagsasaayos ni Sandy ng negosyo ni Alex na ipinagkatiwala ng pamilya niya sa kanya upang salbahin. Magtagumpay kaya sila sa kanilang naisin kung magiging sagabal ang kanilang mga damdamin sa isa’t-isa?

            Sa pamagat pa lang ng pelikula, maiintriga agad ang mga manonood kung ano ang bagong sasabihin nito patungkol sa pag-ibig. Umikot ang kuwento kay Sandy at kung paanong makakabangon ang wasak na puso mula sa pagkabigo. Maraming malalim na mensahe ang pelikula patungkol sa pagharap sa mga katotohanan ng pag-ibig. Nakakatuwang panoorin si Chiu na talaga namang lumutang ang galing sa pagpapatawa sa pelikula. Isa siyang rebelasyon sa pelikulang ito. Pawang mahuhusay din ang mga kasama niya rito at di matatawaran ang galing sa pagganap. Maraming magagandang eksena na kapupulutan ng aral habang nagpapatawa. Hango sa sikat na akda ni Ramon Bautista, maayos na naisapelikula ang nilalaman ng libro ni Bautista, kasama pa rito ang kanyang paglabas mismo sa pelikula, na nagsilbing gimmick nito. Yun nga lang, wala naman masyadong nasabi ang pelikula or si Bautista bukod sa mga impormasyong alam na ng manonood. Hindi naman talaga nasagot ng pelikula ang tanong na Bakit hindi ka crush ng crush mo.

            Ano nga ba ang mahalaga sa buhay? Mahalaga ba ang pagmamahal ng iba upang pahalagahan ang sarili? Iginigiit ng pelikula na hindi, ngunit salungat dito ang bandang huli at ang maraming pagkakataon sa pelikula. Si Sandy ay iniwan ng kanyang nobyo dahil hindi na nito masikmura ang kanyang itsura. Sinasabi noong una ni Sandy na dapat siyang tanggapin ng sinuman anuman ang kanyang panglabas na anyo. Ngunit bakit kinailangan pa rin niyang baguhin ang kanyang itsura at pananamit para matanggap at mahalin ng iba sa huli? Kahanga-hanga ang naging pagbabago ni Sandy sa kalagitnaan ng kuwento, lalo na ang pagpapakita niya ng tapang sa lalaking nanakit sa kanya at lumapastangan, ngunit malabo pa rin ang kabuuang mensahe ng pelikula dahil pawang romansa at pagmamahal pa rin ng isang lalaki ang bumuo sa kanyang pagkatao sa huli.

            Bagama’t may mga aral na mapupulot sa pelikula lalo na sa usapin ng pamilya, trabaho, pagtanggap sa pagkatao at pagmamahal ng walang kundisyon, kinakailangan pa rin ang patnubay ng mga magulang sa manonood na may mga murang isipan, lalo’t higit sa ilang mga aspetong moral.  Halimbawa, nakakabahala ang naging usapin ng pelikula patungkol sa pakikipag-talik ng mga mag-nobyong di naman kasal—para bang ginagawa na lamang kaswal na usapin ang aspetong ito ng relasyon.  Malabo ang tayo ng pelikula patungkol dito. Bale-wala na ba ang wika ng Diyos tungkol sa bagay na ito?  Sinayang ng Bakit hindi ka crush ng crush mo? ang pagkakataong makapagturo ng tumpak sa mga kabataang nasa edad na ng pagkakaroon ng crush.  Dahil dito, hindi masasabi ng CINEMA na karapat-dapat itong panoorin ng mga bata, o ng mga romantikong ayaw tumanda. 

Ekstra

LEAD CAST:  Vilma Santos, Ruby Ruiz, Piolo Pascual, Cherie Gil, Cherry Pie Picache, Pilar Pilapil, Marian Rivera, Tom Rodriguez, Eula Valdes, and Richard Yap.  DIRECTOR: Jeffrey Jeturian  SCREENWRITER:  Zig Dulay, Antoinete Jadaone, Jeffrey Jeturian            PRODUCER:  Joji Alonso, John Victor Tence, Vilma Santos-Recto, Ferdinand Lapuz  (Inde Film with Star Cinema & Quantum Films) EDITOR: Glenn Ituriaga, Zig Dulay   MUSICAL DIRECTOR:  Addiss Tabong  GENRE: Socio-Realist Drama-Comedy  RUNNING TIME:   111 minutes  CINEMATOGRAPHER:  Lee Meily  DISTRIBUTOR:  Star Cinema  LOCATION:  Philippines

Technical assessment:  3.5

Moral assessement: 3

MTRCB rating:  PG 13

CINEMA rating: PG 13 (Ages 13 and below with parental guidance)

Mag-isang itinataguyod ng ekstra o “bit player’ na si Loida Malabanan (Vilma Santos) ang anak na nag-aaral sa kolehiyo.  Madaling araw pa lamang ay abala na si Loida sa paghahanda para makasabay sa serbis na sasakyan magdadala sa kaniya at mga kasama sa location shooting ng teleserye kung saan gumaganap sila bilang mga Ekstra. Kailangan niyang kumita sa shooting na yon dahil magbabayad ng tuition para makapag-exam ang anak. Maluwalhati namang nakarating sa lokasyon ng mga kukunang tagpo sina Loida kung saan parang sanay na sila na binabalewala sila dahil hindi naman sila ang mga bida sa teleserye--walang nakatalagang lugar para sa kanilang pagpapahinga, pagbibihis, at kahit sa pagkain. Sa kabila ng mga pagmamaliit ay puno pa rin ng pag-asa si Loida na aasenso siya at makikitaan ng saya sa kanyang ginagawa.  Pinagbubutihan ni Loida ang maliliit na papel na ibinibigay sa kanya tulad ng pagiging parte ng madaming tao, katulong at pag-double sa bida sa mga pisikal na eksena kaya naman hinangaan siya ng mga kasama, ng talent coordinator, at kahit ng mga tao sa produksyon.  Samantala habang abala si Loida sa shooting ay nagti-text ang kanyang anak at humihingi ng pambayad sa tuition.  Mangangailangan ng gaganap sa papel na abogado at mayroong linya na sasabihin; mapipili si Loida. Buong pagmamalaking ite-text niya agad sa anak ang balita, lalo na’t kasama niya sa eksena ang matagal na niyang iniidolong artista na si Amanda (Pilar Pilapil). Matugunan naman kaya ni Loida ang kailangan ng anak at ano ang kalalabasan ng pagganap ni Loida sa eksena bilang abogado?

        Napakahusay ng mga teknikal na aspeto ng pelikulang Ekstra.  Malinis at makatotohanan ang pagkakalahad ng kuwento.  Interesante ang mga eksena na tila isang “reality show” ang tinutunghayan ng mga manonood.  Maayos ang palitan ng aktwal na mga eksena ng shooting at teleserye na nagtatampok kina Piolo Pascual, Marian Rivera, Cherie Gil, at Pilar Pilapil. Nakaaliw panoorin ang kabuuan ng  pelikula dahil sa maingat na paghahatid ng mga detalye. Mahusay ang trato ni Jeturian sa paghahatid ng mga eksena at pagpapalutang ng mga karakter sa mga nagsiganap.  Hindi matatawaran ang pagganap ng isang Vilma Santos at isang salik ang pagiging bida niya sa pelikula para sa higit na “appreciation” ng mga manonood. Hindi rin nagpahuli ang mga kasamang nagsiganap sa pelikula, batikan man o mga baguhan. Akma at epektibo ang mga inilapat na tunog, musika at ilaw. Maganda at nakakaaliw ang mga kuha ng camera lalo na sa pagpapakita ng mga detalye. Sa kabuuan ay nakitaan ng seryosong paghahatid ang pelikula na ginamitan ng mahusay na aspetong teknikal—walang alinglangan na ang pagiging makatotohanan ng Ekstra ay gawa ng mahabang karanasan ni Jeturian bilang direktor ng mga teleserye, bukod sa pagiging isang iginagalang na direktor ng pelikula.

        Tinalakay ng pelikulang Ekstra ang kahalagahan ng sakripisyo at pagsisikap ng mga nagsisiganap bilang mga ekstra sa mga palabas sa telebisyon at pelikula para kumita ng marangal at makatulong sa pamilya katulad ng pagtataguyod sa pagpapaaral ng anak upang mabigyan ito ng magandang kinabukasan.  Nakitaan ng determinasyon ang karakter ni Loida para pagbutihin ang kanyang ginagawa at maging masaya sa kabila ng mga di kanais-nais na kalagayan ng kanyang trabaho.  Makahulugan ang mga linyang sinambit ni Loida para magbigay ng inspirasyon at kaliwanagan sa mga kapwa-ekstra—na kahit maliit ang papel na ginagampanan nila ay malaking bahagi sila upang mabuo ang isang palabas kaya dapat pagbutihin ang trabaho. Nakatulong ang pelikula na makapagbigay-alam sa publiko ng mga tunay na pangyayari sa likod ng mga pinaglilibangan at sinusubaybayan nilang mga palabas sa telebisyon.  Bagamat nakatuon sa mga ekstra ang pelikula, buong tapat na ipinakita din nito ang kalagayan ng iba pang manggagawa sa likod ng isang TV production (tulad ng mga assistants, makeup artists, caterers, atbp.) at ang mga pressures at hamon na kinakaharap nila sa kanilang mga trabaho.  Higit sa lahat, inilalahad ng pelikula ang kasamaan ng ugali ng mga malalaking artista, pati na ng director (ginampanan ni Marlon Rivera), na siyang nagiging sanhi din ng mga pressures na dinadala ng lahat—lalo na ng mga pinakawawa, ang pinakamaliliit na kasapi ng produksyon, ang mga ekstra na sumasalo sa di makataong pagmamaliit at pagpapahiya sa kanila. Isang punto na maaaring pagnilayan ng mga taong nasa ganitong linya ng trabaho, lalo na ng mga big bosses at producers, ay ang katotohanan na ang mga ekstra mismo ang nagbibigay-dangal sa kanilang trabaho, kaya’t di makatarungan na maging kultura sa mga produksyon ang paghamak sa mga katulad nila.

Percy Jackson: Sea of monsters

Cast: Logan Lerman, Douglas Smith, Brandon Jackson, Alexandra Daddario, Leven Ramblin, Jake Abel, Stanley Tucci, Nathan Fillion, Paloma Kwiatkowski; Director: Thor Freudenthal; Story:  based on the book Sea of Monsters by Rick Riordan;  Screenplay: Marc Guggenheim; Producer: Michael Barnathan, Karen Rosenfelt;  Music: Andrew Lockington; Genre: Fantasy/Adventure; Running Time: 107 minutes;  Distributor: 20^th Century Fox ; Location: USA

Technical assessment:  3

Moral assessment:  3

MTRCB rating:  PG13

CINEMA rating:  V14  (For viewers aged 14 and above)

The second instalment of the Percy Jackson adventures, as based loosely on Rick Riordan’s novels, picks up in Camp Half-Blood, a haven and training ground for demigods. The movie opens with Percy (Logan Lerman), the son of Poseidon, narrating the sacrifice of young Thalia (Paloma Kwiatkowski) and Zeus’ reward for her actions. Apparently, a pine tree that now emits a magical protective shield grew through her body.  In the camp, a friendly tournament among the demigods is taking place and ends with Clarisse (Leven Ramblin), daughter of Ares and Percy’s rival, winning once again because Percy had to go all the way back to the start to save a fellow competitor. This leaves Percy silently resentful of not being able to be perceived as a champion or winner. However, he keeps his feelings in check and humbly takes on a cleaning assignment from the Camp Master Dionysus (Stanley Tucci). Percy is introduced to camp newcomer a cyclops, Tyson (Douglas Smith), another son of his father Poseidon, and receives more humiliating moments as camp residents rudely stare at his one-eyed half-brother.  Later, Luke Castellan (Jake Abel), Hermes’ son and the antagonist of the series, attacks the camp and poisons Thalia’s magic tree which endangers the existence of the entire camp. Dionysus sends Clarisse on a quest to retrieve the Golden Fleece to heal the tree. But Percy learns of a prophesy saying a demigod and child of one of the Big Three Gods (Zeus, Poseidon and Hades) will save or destroy Mount Olympus. He assumes the prophesy refers to him, sets off with his friend Annabeth (Alexandra Daddario), daughter of Athena, his satyr protector Grover Underwood (Brandon T.Jackson) and his half-brother Tyson to find the Fleece, stop Luke from resurrecting the Titan Kronos and destroying Mount Olympus.

A mark of a good movie adaptation is its ability to stand on its own merits, whether or not viewers have read the original book. Percy Jackson: Sea of Monsters is somewhat in between. It gives enough highlights from the book but does not confuse the audience with the side stories and character backstories which are not fully developed. Although the fans of Rick Riordan would complain that the movie version is so different from the original novel and in a sense loses its mythological mystique, the first time viewer can appreciate it as it is and find it worthy enough to try to watch the first movie just so the context is better grasped.  As always, Hollywood has perfected the computer generated effects, and even if audiences already expect this kind of magic, the special effects are still powerful and commendable. The greatest value of the movie lies in the seamlessness of the post production works. Performances and the script are a little predictable and shallow but they work nonetheless. Over-all, Percy Jackson: Sea of Monsters may not belong to the “must watch films” but is enjoyable and worth the effort.

 There are two lessons to be derived from the film. First, the value of family. Percy did not see Tyson as a worthwhile brother but realized that looks and lineage are of little consequence. He also thought that his father does not listen and later on realized that it was his father guiding him all along. Families stick together, stay together and help each other all the time. Family here does not merely refer to blood relatives because at the end of the day, rivals Clarisse and Percy supported each other to succeed in their quest to save the camp. Second, the value of sacrifice. Thalia bravely fought the monster Cyclops to give her friends a chance to escape at the expense of her life. Percy gave up winning against Clarisse in the tournament because someone needed his help. In the end, despite wanting so much to be recognized for his heroic contribution to the quest, he gave the honors of retrieving the Golden Fleece to Clarisse as it was her original quest. It is never about just winning but doing good and being humble about it—a magnanimity of heart that is the mark of a true hero. 

The internship

LEAD CAST:  Vince Vaughn, Owen Wilson, Rose Byrne, Maz Minghella, Joanna Garcia, John Goodman, Dylan O’Brien, Jessica Szohr  DIRECTOR:  Shawn Levy  SCREENWRITER: Vince Vaughn, Jared Stern  PRODUCER:  Vince Vaughn, Shawn Levy  EDITOR:  Dean Zimmerman  MUSICAL DIRECTOR:  Christophe Beck  GENRE: Drama, Comedy  RUNNING TIME:  119 minutes  CINEMATOGRAPHER:  Jonathan Brown  DISTRIBUTOR:  20^th Century Fox  LOCATION:  US

Technical assessment:  3

Moral assessment:  3

MTRCB rating:  PG 13

CINEMA rating:  PG 13 (for age 13 and below with parental guidance)

Practically all their life Billy (Vince Vaughn) and Nick (Owen Wilson) have been salesmen. They sell watches, but now their employer says nobody needs watches anymore in this digital world, so he shuts down the company.  In need of a job, having few options and wanting to prove they still have the oomph to succeed, they defy the odds, and naively chatter their way into a coveted internship at Google where they become oddballs among tech-savvy college students.  However, gaining a foothold in this dream company is just the beginning of two mid-lifers’ uphill climb.  Seen as dinosaurs in the Google universe, they must now go into battle with techie geniuses half their age, virtually armed with mere sticks and stones.

The Internship is almost entirely shot in the actual Google facility fondly called “Googleplex”, giving viewers a field trip to a utopia that many tech-savvy kids dream of belonging in.  Outside of Vaughn and Wilson, composing the supporting cast are unfamiliar faces with adequate acting skills, giving the impression that the viewer is actually there with those bushy-tailed college kids and imbibing of Google’s corporate culture.  The plot is easy to follow, aided by tight editing and dialogue that needs no padding for substance.  Although it is the Wilson-Vaughn chemistry that obviously carries the story, the script fairly gives each actor his or her moment to shine.       

Although a number of film critics think The Internship is one long commercial for Google,  CINEMA begs to disagree.  Google is bigger than the movie, and does not need props to keep it up.  The story with its casually delivered but sobering message couldn’t have been told more effectively and convincingly outside of Google’s universe.  In fact it’s telling young people that tech-savvy is not enough; one can get smart, too, from years of being in the “university of hard knocks.”  The Internship is prodding us to take a second look at our biases, busting our prejudices and asking us to keep hoping for equality in this world. The Internship shows us that for a team to gel, teammates must be open to learn from one another, regardless of color, creed, age and rage.  A most telling moment comes when the interns are told to group themselves into competing teams.  Nobody wants the dinosaurs, and so they have no choice but to team up with the three other rejects: a reserved Indian girl, a brooding Caucasian, and a Chinese guy with mommy issues.  Guess which team wins?  Of course, the one you want to win.

Despicable me 2

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LEAD CAST:  Voice of – Steve  Carell, Kristen Wiig, Berjamin Bratt, Miranda Cosgrove, Russell Brand, Steve Coogan, Ken Jeong  DIRECTOR: Pierre Coffin, Chris Renaud  SCREENWRITER:  Cinco Pual, Ken Daurio  PRODUCER:  Christ Meledandri, Janet Healy  EDITOR:  Gregory Perler  MUSICAL DIRECTOR:  Pharrell Williams, Heitor Pereira  GENRE: Animation, Kids & Family, Comedy  RUNNING TIME:  98 minutes  DISTRIBUTOR:  Universal Studio  LOCATION:  US

Technical assessment:  3

Moral assessment:  3

CINEMA ating: PG 13  with parental guidance

Formerly bad villain Gru (Steve Carrell) has mellowed towards complete reformation as he tries to live a rather normal life, taking care of his adopted daughters and transforming his previously evil lab to start a jam and jelly business. But he just can’t resist going back to the scene when the Anti-Villain League, an organization dedicated to tracking villainous plots, recruits him to help them find and identify a new mysterious villain who has just stolen an entire Antarctic lab, and is now in possession of a very powerful yet dangerous toxic compound. Gru is paired up with agent Lucy Wilde (Kristen Wiig), and together, they go undercover in a shopping mall, hoping to track down the supervillain who poses as a mall tenant.

            Despicable Me 2 doesn’t quite live up to the legacy and sentiment of the original installment.  What was a previously fresh premise of “villainy as a norm” has turned into a quite predictable and  uninspired franchise. The narrative and the characters do not go beyond being merely functional as the film tries hard to lead its story towards the obligatory happy ending. The film does not tackle the central conflict of a villain struggling to reform in a society that fights evil with evil. The film entirely lacks the surprise element particularly, the revelation of the mysterious villain. However, Despicable Me 2 still delivers a few laughs and thrills, thanks to the diminutive yellow minions who provide much of the humor in the film. Their presence makes the film an enjoyable treat. The voice acting remain strong amidst the weak material and the animation is still flawless.

             Although an animated feature, Despicable Me 2 predominantly tackles an adult theme of villainy, espionage, and romantic relationships. Given these, scenes of violence cannot be avoided no matter how sanitized and funny the set-ups are. Those scenes result in slapsticks and crude humor. The minions and poop jokes are able to elicit laughter from the young audience, and much of it is rather neutral and harmless.  Looking at the larger context, Gru’s character transformation from a seemingly bad villain to a good spy is commendable. This is further reinforced when he takes the role of a father to three girls. He becomes overly protective when one of his daughters starts to fall in love with someone whom he finds totally incompatible. Towards the end of the feature, the good still triumphs over evil and family and love relationships remain to be a powerful force even in a world dominated by villains. But then again, given the theme and adult humor, CINEMA deems Despicable Me 2 as fit for audiences 13 years old and below, with parental guidance.