The finest hours

DIRECTOR: Craig Gillespie  LEAD CAST:  Chris Pine, Casey Affleck, Ben Foster, Holliday Grainger, John Ortiz, Eric Bana   SCREENWRITER:  Eric Johnson, Scott Silver, Paul Tamasy  PRODUCER:  Dorothy Aufiero, James Whitaker  EDITOR:  Tatiana S. Riegel    MUSICAL DIRECTOR:  Carter Burwel  GENRE:  Biographical Drama, Action and Adventure, Mystery and Suspense  CINEMATOGRAPHER: Javier Aguierresarobe    DISTRIBUTOR:  Walt Disney Studios Motion Pictures  LOCATION:  United States RUNNING TIME: 117 minutes

Technical assessment:  3

Moral assessment:  3

CINEMA rating:  PG 13

This film is based on a real life story.  The Coast Guard crewman, Bernard Webber (Chris Pine) has fallen in love with switchboard operator, Miriam Pentinen  (Holliday Grainger). He is about to ask permission to get married from their new station’s commander but he is dispatched to rescue the 32 survivors trapped in the oil tanker, SS Pendleton which has broken in half off the Chatham coast after getting caught in a massive storm. It is impossible for any rescue boat to pass the lethal Chatham Bars crashing waves. In obedience to his commander, Weber takes three men on a lifeboat for the daring rescue mission. When SS Pendleton receives the message of a forthcoming rescue, chief engineer Ray Sybert  (Casey Affleck)organizes a strategy to keep the tanker’s stern afloat, hoping they’ll be rescued before sinking. But the rescue boat is tossed by skyscraper waves and loses the compass. Bernie races against time to make the rescue succeed, to atone for the time he couldn’t save townsmen stranded in a previous storm.                                                        

In totality, The Finest Hours is a fine movie. It is able to achieve its visual ambitions of bringing back to life a historical event that happened on a sea. There’s a lot of creativity and talent invested in the film’s visuals using CGI as well as real location that shows captivating sceneries and seascapes. The story is interesting and it presents really compelling characters,w ith actors who are able to deliver. However, the film lacks necessary focus. Its narrative jumps from one subplot to another. Perhaps it is drawn to its own broadness so it has to show three main subplots—Bernie’s impossible mission, Miriam’s worry, and Ray’s dilemma on his ship. Each plot has its own interesting take on the event, but put together, there is something missing. Perhaps it lacks the real heart or maybe, the film is really just focused on the storm and not on the characters. Whichever, the film could’ve been better if it just focused on one plot and played everything there. Giving the plots equal weight has made resulted in sense of vagueness that does not work well for the movie. However, the film’s visual strength and good acting, makes The Finest Hours a good watch.

The Finest Hours is a story of courage, heroism, faith and love amidst the storm. Each character has shown concern for every single life as precious—thus, risking even their own lives to save others. In the battle of man against nature, only real courage and strong faith would make them survive. It is also easy to fall into the trap of “ship of fools” given the gravity and urgency of the situation, but genuine heroism has kept every character afloat, setting aside pride and differences. The film shows the real meaning of camaraderie and brotherhood. Miriam, on the other hand is a woman of strong character. Her steadfast love and faithful heart apparently has been instrumental in sending message of hope and perseverance to Bernie in the middle of the sea. Keeping watch every minute, she managed to play a significant role in the eventual success of the operation. The film really has shown how the crucial hours that spell disaster and survival have shown the finest characteristic of a human being—one that cares for others and would leave self behind for the sake of the common good. They may not have thought of the reward but they had it anyway for they all lived a full life after the storm—a grace given to the ones who are faithful.

London has fallen

DIRECTOR: Babak Najafi  LEAD CAST:  Gerald Butler, Aaron Eckhart, Morgan Freeman, Alon Moni Aboutboul, Angela Bassett, Robert Forster, Melissa Leo, Radha Mitchell SCREENWRITER:  Creighton Rothenberger, Katrin Benedikt, Christian Gudegast, Chad St. John  PRODUCER:  Gerald Butler, Mark Gill, Danny Lerner, Matt O’Toole, Alan Seigel, Les Weldon   EDITOR:  Michael J. Duthie, Paul Martin Smith  MUSICAL DIRECTOR:  Trevor Morris  GENRE:  Action Crime Thriller, Adventure  CINEMATOGRAPHER: Ed Wild  DISTRIBUTOR:  Lionsgate Films  LOCATION:  United States RUNNING TIME: 99 minutes

Technical assessment:  3

Moral assessment:  2.5

CINEMA rating:  V18

The United States launches a drone strike that ruins the wedding of the daughter of Pakistani’s arms dealer Aamir Barkawi, the mastermind behind terrorist attacks in Europe and around the world.  Surviving the disaster, Barkawi meets his son, Kamran to set plans for a profound and absolute revenge on the West. Two years later, the British Prime Minister Wilson dies under mysterious circumstances. In short notice, the powerful leaders in the world gather in London’s St. Paul Cathedral for Wilson’s state funeral that starts out as the most protected event on earth. It turns deadly when the terrorists having infiltrated every branch of the police and armed forces, surprisingly wreak carnage, indiscriminately slaying world leaders, civilians and pulverizing city infrastructures. While Secret Service agent Mike Banning (Gerald Butler) brings the American President Benjamin Asher to safety, the terrorists abduct the president. Kamran prepares to execute Asher, publicly broadcasting the video feed live around the world. Banning risks his life to keep his boss alive.

Two lessons are a standout in London has fallen:  terrorism and vengeance bring no peace; and the best security for a child is love, not baby monitors, not armaments.

Hail, Caesar!

DIRECTORS: Joel Coen, Ethan Coen  STARRING: Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton and Channing Tatum  PRODUCERS: Joel Coen, Ethan Coen, Tim Bevan, Eric Fellner  WRITERS: Joel Coen, Ethan Coen  FILM EDITORS: Joel Coen, Ethan Coen  MUSIC: Carter Burwell  NARRATED BY: Michael Gambon  GENRE: Comedy, Drama, Music, Mystery  CINEMATOGRAPHY: Roger Deakins  PRODUCTION DESIGN: Jess Gonchor  PRODUCTION COMPANIES: Working Title Films, Mike Zoss Productions  DISTRIBUTORS: Universal Pictures  COUNTRY: United States  LANGUAGE: English RUNNING TIME: 1hr. 46 minutes

Technical assessment:  3.5

Moral assessment:  3

CINEMA rating:   V14

In Hail, Caesar! 1951 Hollywood fixer Eddie Mannix (Josh Brolin) is the head of property protection at Capitol Pictures.  He shields the studio's stars from any scandal and ensures that their public persona is what the studio wants. He is pressed into action when superstar actor Baird Whitlock (George Clooney) is kidnapped and held for ransom by a mysterious group called “The Future”. Mannix races to quietly collect the ransom money without gossip columnists Thessaly and Thora Thacker (Tilda Swinton in a dual role) catching wind of the scandal.  Check out the review of Hail, Caesar! By the United States Conference of Catholic Bishops (USCCB) here: http://www.catholicnews.com/services/englishnews/2016/hail-caesar.cfm

Girlfriend for hire

Direction: Vanessa de Leon; Cast: Yassi Pressman, Andre Paras; Story:  Based on Wattpad’s short story with the same title; Screenplay: Jose Javier Reyes;  Editing: Vanessa de Leon; Producers: Vincent de Rosario III, et al; Genre: Romance; Location: Metro Manila; Distributor: Viva Films  Running Time: 104 minutes

Technical assessment:  2

Moral assessment:   2.5

CINEMA rating: V14

Si Nami (Yassi Pressman) ay isang iskolar sa Stanford, isang kolehiyong pangmayaman. Madalas siyang makabanggaang landas si Bryle (Paras), ang kaisa-isang apo ng may-ari ng paaralan. At sa mga pagkakataong ito ay lagi silang magbabangayan.  Nang maglayas si Nami dahil sa problema sa bahay ay siya naman mabubundol siya ni Bryle na namumublema sa kundisyon ng kanyang lolo na dapat siyang makapagbigay ng apo magtutuloy sa lahi ng mga Stanford. Makikipagkasundo ang binata na ipakikilala si Nami bilang nobya sa kanyang lolo kapalit nang pagpapatira sa condo at pera. Kaso nga lamang ay magkakahulugan sila ng loob. Lalong magiging kumplikado ang sitwasyon sa pagbabalik ng nobya ni Bryle na maglalagay sa damdamin ng binata sa alanganin.

Malaki ang kakulangan ng kwento ng Girlfriend for hire. Unang-una ay gasgas na ang buod nito at kakatwa ang pinagpapalagay na magkakahulugan ng loob ang mga tauhan sa kabila ng kanilang pagkakaiba ng motibo at prinsipyo. Lalo nang naging kakatwa ang daloy na ang mismong suliranin sa kanilang relasyon ang siya rin namang nagsilbing resolusyon.  Walang kahirap hirap sa dalawang tauhan na panindigan o ipaglaban ang kanilang “pag-iibigan”.  Kapag dumako pa tayo sa pagganap nina Pressman at Paras ay lalong nagiging kabugnot-bugnot ang desisyon panuorin ang pelikulang ito. Sinasalo lamang ng mga teknikal na aspeto ang pelikula—musika, sinematograpiya, disenyo. Pero tulad ng lagi naming binibigyang-diin, kung hungkag ito, hindi makakasalba ang mga palamuting teknikal na ikukulapol dito.

Girlfriend for hire ang tipo ng pelikula na simula pa lamang ay alam mo na ang katapusan. Ang mas malala ay lagi na lang umiikot ang mga kwento mula Wattpad sa mga mababaw at imposibleng relasyon. Ang mga babae ay humaling na humaling sa mga lalaking abusado o makasarili at sa isang iglap, biglang mababago ang ugali ng lalaki at sila ay mabubuhay nang “happily ever after”. Sige, maaaring patok ang mga kwentong nakakakilig na ito sa mga kabataan pero ano naman kaya ang mensahe ukol sa relasyon at pag-ibig ang naipapamahagi ng mga ganitong pelikula?  Kung bakit nanatili si Nami bagamat hindi maganda ang pakikitungo sa kanya ni Bryle ay isang malaking palaisipan, kungdi man katangahan.  Sadya ba siyang mahina at walang paninindigan o ipagpapalit ang dignidad para sa kaunting luho?  Kung may saysay man ang kuwentong ito, ito ay para ipakita sa kabataan kung ano ang mga relasyong dapat iwasan.

Zoolander 2

Direction: Ben Stiller; Cast: Ben Stiller, Owen Wilson, Will Ferrell, Penelope Cruz; Story:  Based on characters by Drake Sather and Ben Stiller; Screenplay: Ben Stiller, John Hamburg, Nicholas Stoller, Justin Theroux; Cinematography: Dan Mindel; Editing: Greg Hayden; Music: Theodore Shapiro; Producers: Stuart Cornfeld, Ben Stiller, et al; Genre: Comedy; Location: Europe; Distributor: Paramount Pictures Running Time: 102 minutes;

Technical assessment: 2

Moral assessment: 2.5

CINEMA rating: V14

Derek (Stiller) and Hansel (Wilson) have been recruited back into the world of high fashion after a decade of reclusion. This time, Valentina Valencia (Cruz), an Interpool Agent for the Global Fashion Division persuades the two to help her uncover the mysterious deaths of celebrities all of whom end up with Zoolander’s signature “blue steel” pose. As they dredge the high fashion world in this decade, the two ex-supermodels run into old nemesis led by Mugatu (Ferrell) with his usual convoluted sinister plots.

Why Ben Stiller pursued to produce, write, direct, star and lose money and dignity in this unnecessary sequel is incomprehensible. It took him more than a decade to come up with a sequel and honestly, the original Zoolander brand would have been better remembered without this ridiculous follow up. The story is paper thin and relies solely on cameo appearances of celebrities and recycled gags. It is lazily written and appears to be a vanity project banking on the prequel’s reputation alone. Zoolander and Stiller look pathetic and weary as they try very hard to sustain that snooty image of a high profile supermodel. While Stiller still retains the perfect timing to deliver his idiocies which are actually funny, his writing and directing skills are inadequate. Zoolander 2 feels like a toothless tiger trying hard to throw a satirical bite at the artificiality of high fashion… but it for non-Justin fans, the opening scene makes it worthwhile.

Zoolander 2 does not pretend to deliver any message, neither should we pretend to find one. The gags are crass, tasteless and sacrilegious. There are too many worn-out sex jokes that are not even funny. And its reference to religious traditions and teachings border on offensive. On the other hand, the film struggles to make two points: recapturing one’s glory and fatherhood. While the former is presented as vanity and senselessness, the latter equally fails to make any connection. Its supposed father-looking-for-his-son plot barely redeems itself because Zoolander did not exhibit any real affection for his son when the latter failed to meet his standards of beauty. But the biggest disappointment of Zoolander 2 is its failure to make any significant insight in contemporary issues like social media, technology, modern relationships, and the like.

Room

DIRECTOR: Lenny Abrahamson  LEAD CAST: Brie Larson, Jacob Tremblay, William H. Macy, Joan Allen, Sean Bridgers, Megan Park & Tom McCamus  SCREENWRITER: Emma Donoghue CINEMATOGRAPHER:  Danny Cohen  PRODUCER:  Ed Guiney  EDITOR: Nathan Nugent  MUSICAL DIRECTOR:  Stephen Rennicks  GENRE: Drama DISTRIBUTOR: A24 Films  LOCATION:  Canada, Ireland, UK RUNNING TIME:  118 minutes

Technical assessment: 4

Moral assessment: 3

CINEMA rating: V-14                                               

Five-year-old Jack (Jacob Tremblay) and his Ma (Brie Larson) are locked-up in a room. The two of them have managed to live in the tiny little space. Ever since Jack’s birth, their world has revolved inside the four corners of the room. Jack has never seen the outside world—the small room is their only world. Everything seems to be fine but little by little, Jack sees that something is terribly wrong in their situation. As he is now five-years-old, her Ma tells him their real story. How they got locked up there and how dangerous their situation is. His Ma plans an escape plot so they can finally be freed. However, a more complicated outside world awaits them, which both of them are not prepared to face.

Room is a compelling, extra-ordinary film that thrives on its simplicity and honesty. There is no special effect or suspenseful scene, not even hysteria—just plain and simple play of emotion—real emotions, so real as though one is watching a documentary. The real gem of the movie is its actors who played their roles excellently well. Larson is able to deliver such riveting performance, providing the needed combination of deep sadness, tragic joy, and painful love. Tremblay is as impressive as he delivers a natural performance giving playful innocence, intelligent curiosity and smart ignorance. The director blends all the complicated gamut of emotions and the gravity of the mother-son situation into a watchable narrative that flows just naturally as it should, making the audience really involved in the unfolding of the story.

The bond that is built between Jack and Ma is the most arresting thread in the film’s narrative. Given the complexities of their connection, still, love prevails. This is a clear triumph of good versus evil. Amidst the apparent hopelessness and despair, there is redemption for as long as there is love. The society may question the decision of Jack’s Ma to contain him in a room instead of letting him go, but, in the said scenario, it is only a mother’s love that could sustain such a distressing situation. In spite of the inherent darkness of their past and present, the two still manage to appreciate life and the world in general because they have each other.  They sustain one another. Their love is a clear testament of the power of humanity to transform lives, and even alter the world—all that is needed is a heart.  The world we create is the kind of world we create in our hearts. Even in the four corners of a tiny room, Jack’s Ma is able to make the world a great place for him. This kind of humanity, the capacity to love and the mysteries that go with it is God-ordained. It is through the manifestation of love that we see God at work. Above all, Jack’s Ma chooses life over death and in that choice, she also chooses love over hatred, and she makes those choices in the face of the hardest consequences. For its sensitive theme that may be too much for the very young, CINEMA recommends the film as appropriate only for viewers 14 years-old and above.

Deadpool

DIRECTOR: Tim Miller   LEAD CAST: Ryan Reynolds, Morena Baccarin, Ed Skrein  SCREENWRITER: Paul Wernick & Rhett Reese  PRODUCER:  Simon Kinberg & company  EDITOR:  Julian Clarke  MUSICAL DIRECTOR:  Junkie XL  GENRE: Action/Adventure  CINEMATOGRAPHER:  Ken Seng  DISTRIBUTOR: 20th Century Fox  LOCATION:  USA RUNNING TIME:  108 minutes

Technical assessment:  3.5

Moral assessment:  2

CINEMA rating:  V18

MTRCB rating:  R16

Pre-Deadpool Wade Wilson (Ryan Reynolds) was a special forces operative who was dishonorably dismissed.  He becomes a hired kill-all-you-can mercenary who sets no limits how he kills whom, then meets hot chick Vanessa (Morena Baccarin), a hooker with a past as murky as his.  A deadly blend of sex and sympathy draws them closer together, and then it’s year-round non-stop carnal bliss for the two.  One day, taking a break from Vanessa’s addictive charms, the otherwise hunky Wilson collapses in the bathroom and later on is diagnosed to have terminal cancer in his lungs, brain, prostate, and liver.  Desperate for a cure, he leaves Vanessa and agrees to submit himself to a government funded experimental treatment in the hands of a doctor named Ajax (Ed Skrein). The experiment not only cures his cancer, but also gives him superhuman strength and the power to self-regenerate—but he becomes horribly disfigured in the process.  When he finds out that the “experiment” was actually designed to turn him into a super-slave, and that his deformity is irreversible, he leaves Vanessa to spare her from the sight of him dying.  Thus, the mask, the superhero costume, and the monicker “Deadpool”.  He then launches a testosterone-driven hunt for the sadistic guy Ajax who made him uglier than the phantom of the opera.

As far as CGI action goes, Deadpool is tops; just like any Marvel superhero movie, it aims to dazzle its audience with new tricks, new choreography, new ways to torture the enemy, new excuses to bare the hero’s abs—and it does succeed in entertaining the fans and many film critics.  Reynolds (who didn’t quite hit it with Green Lantern) obviously enjoys being Deadpool, spewing witticism, sarcasm and adults-only expletives, and trying to be funny in the middle of hacking an opponent to death.  He also enjoys baring his abs and that forbidden region south of his navel in a bid to maximize the movie’s R rating.  Unlike most movies with a high body count, Deadpool makes no attempt to disguise the gore, so that when heads are axed and torsos impaled and sliced like watermelons, well—you see red all over the screen.   

Towards the end, Deadpool attempts a redemptive message—love sees beyond the externals—but coming after 105 minutes of the protagonist’s undiluted badassery, it feels put on.  Deadpool the character has been described as “technically a superhero, but one with a mean streak and a potty mouth.”   (Just how potty is potty?  Please refer to http://www.christiananswers.net/spotlight/movies/2016/deadpool2016.html).  Deadpool himself is dead right when he says “I am not a hero”, so what is he?  A pathetic cancer victim who finds love too late and is therefore to be pitied?  A wisecracking murderer who enjoys killing people to heal his wounds?  A superhero figure reimagined for box office profits is more like it, proven by the gimmick as the credits roll—Reynolds reappearing minus the Deadpool costume, chiding the audience to go home.  Talk about cutesies.  Don’t say we didn’t warn you.

Zootopia

DIRECTOR: Byron Howard, Rich Moore, Jared Bush LEAD CAST: Voices of Ginnifer Goodwin, Jason Bateman SCREENWRITER: Jared Bush, Phil Johnston PRODUCER: Clark Spencer EDITOR: Fabienne Rawley, Jeremy Milton MUSICAL DIRECTOR: Michael Giacchino GENRE: Animation, Action & Adventure, Comedy PRODUCTION DESIGNER: David Goetz VISUAL EFFECTS SUPERVISOR: Scott Kersavage DISTRIBUTOR: Walt Disney Studios Motion Pictures LOCATION: United States RUNNING TIME: 103 minutes
Technical assessment:  4
Moral assessment:  4
CINEMA rating: V 13 (Children 13 and below with Parental Guidance)
MTRCB rating: PG
Rabbit Judy Hopps (voiced by Ginnifer Goodwin) dream of being cop, despite the discouragement from her parents who say “no bunny ever becomes a cop.” Through sheer determination and hardwork Judy attains her goal, topping her class and becoming the first bunny to join the police force. She is assigned to Zootopia, a mammal metropolis populated by animals, leaves her parents and their quiet farm life only to be given the lowest post of all—monitoring the parking meters. Disappointed but persevering she resolves to be the best parking meter cop there is, issuing 200 parking tickets before noon of her first day at work. A wily fox con artist, Nick Wilde (voice by Jason Bateman) tricks and humiliates her on Day One, but as fate would have it, both Judy and Nick become targets of a conspiracy. Circumstances teach them to work in tandem towards solving ongoing mystery crimes in Zootopia. Just when you’re about to say “What? More talking animals?”, along comes—or hops—Zootopia, another fine animation film from Disney’s menagerie. Its main asset is a meaty theme laid out through intelligent story-telling and made alive by pitch perfect voicing. Humans would easily relate to the setting, an anthropomorphic society where animals are dressed like humans and lead human lifestyles—talk about giraffes drinking latte and gazelles crooning onstage as divas—creative animation at its imaginative best. Although Zootopia would make excellent bedtime-reading for kids, it’s anything but kidstuff, what with Bryon Howard (Tangled, Bolt) and Rich Moore (Wreck-It-Ralph) at the helm, giving flesh to a script by a staff that includes Jim Reardon (WALL-E), Josie Trinidad (The Princess and the Frog) and Jennifer Lee (Frozen). Pick everything good out of those hits, toss them all into Zootopia and you’ve got film fare that’s both delectable and nutritious to go with your popcorn. If it can be called anything, Zootopia is “cartoon for adults” because it’s a strong statement on things, beliefs and attitudes we’ve taken for granted but which need reexamination in human society. It’s an honest and humorous commentary on how we let prejudice, fear, discrimination, and ignorance guide our lives and prevent us from evolving into the perfect creatures we are meant to be. With wit and gentleness it teaches us lessons on empowerment, courage to pursue our dreams, humility and diligence in performing our jobs, faith in one another despite our differences. Zootopia offers much to entertain young and old alike—the sloth episode alone is worth the price of admission, Ha, ha, ha!—but be careful which child you allow to watch it. Not all children can handle the violence on a larger-than-life screen. (The day we watched, a girl about 4-5 years old screamed when a monstrous bison clawed the fragile bunny, and then kept on crying, “No, no, no!”, burying her face in her mother’s lap and refusing to watch further. The mother and the two yayas were clueless, taking turns carrying the uncontrollable kid outside and bringing her back in until she literally lay on the floor, screaming and kicking inconsolably and spilling drinks and popcorn as a result. Literally, naglupasay! The incident, of course, disturbed the audience, but we wonder if it didn’t consist a trauma for the girl.)