Kid Kulafu

DIRECTOR: Paul Soriano  LEAD CAST: Robert Villar, Alessandra de Rossi, Cesar Montano  SCREENWRITER: Froi Medina  PRODUCER:  Marie Pineda  EDITOR: Mark Victor  GENRE: drama [biographical]  CINEMATOGRAPHER:  Odysse Flores  DISTRIBUTOR: Star Cinema  LOCATION:  Southern Philippines  RUNNING TIME:  70 mins.

Technical assessment: 3.3

Moral assessment:  3.5

CINEMA rating: V14

       “Before Manny Pacquiao, there was Kid Kulafu”—ito ang mensaheng nasa mga poster ng pelikulang Kid Kulafu.  Inilalahad ng Kid Kulafu ang dinanas na paghihirap ng “Pambansang Kamao” na si Manny Pacquiao—ang mga pagsubok at pasakit na bumalot sa kanyang buhay, kasama ng amang manhid at ng inang matatakutin bagama’t deboto.  Sa kabila ng lahat, hindi naglaho ang pangarap ng batang Emmanuel na umangat sa buhay at iahon ang kanyang pamilya mula sa kahirapang dinaranas.  Nang matuklasan ng batang Pacquiao na siya ay may kaibang kakayahan sa suntukan, ginamit niya ito bilang hagdanan upang marating ang pangarap nang buo ang loob at walang walang lingon-lingon, kahit na sa harap ng malalaking balakid.

       Sa simula pa lamang ng pelikula ay mababakas na ang kakaibang kalidad ng Kid Kulafu—mahusay ang potograpiya, ginagawang kapanapanabik ang istorya.  At bagama’t may mga “mabibigat” na eksena (tulad ng paglalabanan ng military at rebelde), ang mga ito ay “pinaraan” lamang at hindi pinalawig upang manipulahin ang damdamin ng manunuod.

       Kahanga-hanga ang pagganap ng mga artista, lalo na nila Alessandra de Rossi na bigay-todo ang pagsasalarawan kay Dionisia, at Buboy Villar na sadyang pumailalim sa pagsasanay bilang boksingero at nagbigay-buhay sa batang Pacquiao na hindi nakilala ng publiko.  Ang matalinong paggamit din ng mga simbulo ay nakatulong sa makinis at malalim na pagbubuo ng salaysay.

       May ilang mga kritikong iginigiit na hindi isang lehitimong pelikula ang Kid Kulafu kungdi isang advertisement, isang anunsiyo, at ang ibinebenta nitong produkto ay ang “pambansang kamao” na hindi na naman kailangang ibenta diumano pagkat “mabili” na ito.  Maaari ngang walang isang “cinematic plot” na matuturingan ang Kid Kulafu ngunit kung isasa-alang-alang natin ang layunin ng pelikula, tama ang ginawang hagod at habi ng direktor (Paul Soriano).  Pagkat naging pakay ng “biopic” na Kid Kulafu na ituon ng manunood ang kanilang pansin sa papel na ginampanan ng tadhana sa buhay ni Emmanuel Pacquiao, hindi ito umasa sa isang tradisyonal na sangkap tulad ng “plot” upang mabuo—sa halip, tinuhog nito nang buong husay ang ilang mga pangyayari, karanasan, at eksena sa buhay ng Pilipinong idolo upang palitawin na ang paglalakbay ni Pacquiao tungo sa rurok ng tagumpay ay iginuhit ng tadhana.

     Tiyak na may ilan ding mahahalagang pangyayari sa buhay ni Pacquiao ang nalaktawan sa ginawang pagtatagni-tagni ni Soriano sa Kid Kulafu, at ang pagtatapos ng pelikula sa pagtatagumpay ni Pacquiao bilang boksingero, ngunit dapat alamin ng manunood na hindi isang dokumentaryo ang Kid Kulafu; bagkus, ito ay isang salaysay sa nais magbahagi ng pag-asa at inspirasyon sa mga makakapanood nito, lalo na’t kung sila ay nasa abang kalagayang tulad ng kampeyon noong kanyang kabataan.  

       Hindi maikakaila na may mga magagandang “values” na lumutang sa Kid Kulafu, tulad ng pagiging masunuring anak (ni Manny), kababaang-loob, pagmamahal sa pamilya, matatag na pagtitiwala sa Panginoon, disiplina upang matamo ang tagumpay.

Home

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DIRECTOR: Tim Johnson  LEAD CAST:  Rihanna. Jim Parsons, Jennifer Lopez, Steve Martin SCREENWRITER:  Tom J. Astle, Matt Ember  PRODUCER:  Chris Jenkins, Suzanne Buirgy  EDITOR:  Jessica Ambinder-Rojas, Alexander Berner  MUSICAL DIRECTOR:  Lorne Barfe  GENRE:  Animation, Adventure, Comedy, Family, Fantasy, Sci-Fi  DISTRIBUTOR:  20^th Century Fox  LOCATION:  United States RUNNING TIME: 94 minutes

Technical assessment: 3

Moral assessment:  3

CINEMA rating: PG 13

Aliens who called themselves the Boov are looking for a new place to inhabit and to escape their enemies, the Gorgs. They find a new home on earth and invade the planet on command of Captain Smek (voiced by Steve Martin).  Carefree Oh (voiced by Jim Parsons) is overwhelmed by a new home. He works to have a housewarming party but no one of his invitees show up. Out of disappointment, Oh sends out mass invitations which unfortunately reach the Gorgs. The Boovs are alarmed and disown Oh. Realizing what he did,  Oh tries to find ways to make up for his mistake. He meets and becomes friends with a human teenager Tip (voiced by Rihanna),who is looking for her mother Lucy (voiced by Jennifer Lopez). As he helps her find her mother, he discovers many good qualities of humans. But their friendship is put on test when Oh is torn between stopping the enemy in full take over of the planet Earth and the promise to help a human friend.

Home is a combination of sci-fi and animation with an interesting storyline with a struggling plot development. Using color changes to show the changing emotions of the Boovs is quite clever. Humor is constantly injected in the film to the delight of the viewers. Technically, the movie is consistently good with a superb soundtrack which allows the audience to recall the film way after the credits .

The film is about valuing family and friendship. It shows how a mother and a daughter struggled and sacrificed to find each other, inspiring even an alien to do the same. An alien who did not believe in friendship realized the blessings of having friends to enjoy life’s journey  and successes. There is value in recognizing the presence of friends and their contribution to our growth and happiness. This can be best achieved if there is full awareness and acceptance of oneself first. Overall, Home is an entertaining film. But parental guidance may be required by young viewers for some vulgar humor.

Fast and furious 7

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DIRECTOR: James Wan  LEAD CAST:  Vin Diesel, Paul Walker, Dwayne Johnson, Jason Statham, Gary Scott Thompson  SCREENWRITER: Chris Morgan, Gary Scott Thompson  PRODUCER:  Vin Diesel , Michael Fottrell, Adam McCarthy, F. Valentino Morales, Neal H. Moritz, Thomas Tull, Samantha Vincent  EDITOR: Leigh Folsom Boyd, Dylan Highsmith, Kirk M. Morri, Christian Wagner  MUSICAL DIRECTOR:  Brian Tyler  GENRE: Action, Crime, Thriller  CINEMATOGRAPHER:  Stephen F. Windon, Marc Spicer  DISTRIBUTOR:  Columbia Pictures  LOCATION:  USA, United Arab Emirates, Canada, Japan  MTRCB rating:  PG  CINEMA rating:  A14 RUNNING TIME: 124 minutes

Technical assessment: 2.5
Moral assessment : 2 stars
CINEMA rating : V14
Deckard Shaw (Statham) swears vengeance against Dom (Diesel), Hobbs (Johnson) and their team for putting his older brother in a comatose. He chases them one by one and almost kills Dom. Fortunately a Mr. Nobody (Russell) intervenes in time and offers Dom a chance to outsmart Shaw if he and his team will rescue Ramsey (Nathalie Emmanuel) and retrieve her creation—God’s Eye, a program which allows the user to use all cameras worldwide as a spycam.  For the mission, Mr. Nobody reunites Dom’s team, including his girlfriend Letty Ortiz (Rodriguez) whose memory is slightly erased after a car accident in the previous Fast and Furious movie.
One seriously needs to be a Fast and Furious fan to make sense of all the time jumps and characters featured in the past sequels. But taking this franchise as a standalone, the plot is both thoughtlessly thin and fabulously absurd. Really? A group of race car drivers turned spy. Really? A vengeful brother who talks too much before his lethal blow. Really? An unknown financer who has all the money, technology and resources at his fingertips yet turns to a bunch of underground ex-criminals to retrieve something as precious and delicate as a spy program. Setting aside the storyline, the action sequences are exhaustingly overextended. One chase scene allowed us to take a long bathroom break and buy some snacks. Yes, it does achieve that moment of heart pounding thrill but without a solid storyline as its backbone, the film would need several overstretched action scenes to sustain its audience. The production design is superficial and superfluous. It makes everything glossy and clean but disengages the audience as nothing is relatable anymore. Camerawork and scoring scream high budget production but with cardboard performances and flat storyline, technicalities are wasted. The only good thing you can appreciate in the film is the redevelopment of Walker’s character so the succeeding franchise can continue even without him. Overall, Fast and Furious 7 is okay for adrenaline junkies with nothing better to do.
Fast and Furious 7 tries hard to celebrate family as demonstrated by the number of times the characters had lines that mentioned this word. Yet, the actions and decisions of the characters contradict the principle. Family is protecting each other, not teaming up to kill someone else. Family is sacrificing one’s self but do you bring your whole team and endanger them in the process? The sentiment is touching but it feels empty and shallow because of the violence and thrills of the chase and action scenes. Definitely, not a movie for the younger audience.

The longest ride

DIRECTOR: George Tillman Jr.  LEAD CAST: Britt Robertson, Scott Eastwood, Alan Alda, Jack Huston, Oona Chaplin, Melissa Benoist, Lolita Davidovich  SCREENWRITER:  Nicholas Sparks (novel), Craig Bolotin (screenplay)  PRODUCER:  Marty Bowen, H.H. Cooper, Wyck Godfrey, Michele Imperato, Theresa Park, James Paul, Mitchell Smith, Nicholas Sparks, Robert Teitel  EDITOR:  Jason Ballantine  MUSICAL DIRECTOR:  Mark Isham  GENRE: Drama, Romance  CINEMATOGRAPHER:  David Tattersall  DISTRIBUTOR: 20th Century Fox  LOCATION:  North Carolina, United States RUNNING TIME:  139 minutes

TECHNICAL ASSESSMENT:  3.5

MORAL ASSESSMENT:  2.5      

MTRCB RATING: R-13

CINEMA RATING: V 18

Luke Collins (Scott Eastwood) is set to reclaim his title as champion bull rider after last year’s nasty fall. At a rodeo, he meets Sophia Danco (Britt Robertson), an art student ready for an internship in New York City. They spend time getting to know each other but realized they are worlds apart to make the relationship work. He needs to ride a bull to save their ranch while she needs to fulfil her dreams in the big city. In one of their dates, they rescue Ira Levinson (Alan Alda), a 90-year-old man and his box, from a car crash. While in hospital, Ira (portrayed by Jack Huston as a young man) shares memories of his beloved wife Ruth (Oona Chaplin) and their enduring love. Will Luke choose the 8-second bull ride championship or the ‘longest ride called life’ with Sophia?

If you’ve read a Nicholas Sparks’ novel or seen any of the film adaptations, you’d know the formula. Girl meets boy from a different background, they fall in love but there’s a hindrance. You don’t get only one story but two. There’s another, older couple who faced the same dilemma, and through letters this older couples’ story inspire the younger ones. Tragedy strikes, but it doesn’t end there.

The Longest Ride doesn’t veer of course. Be that as it may, the film showcases the talents of its actors. Eastwood shows promise and Robertson essays her role well. It is the young Levinson couple, Oona Chaplin and Jack Huston, who bring their endearing 1940s characters to life. Although the film weaves the two stories together, one can’t help asking why the young Ira had to write Ruth about something she herself just experienced. There are beautiful scenic shots of North Carolina and the bull riding scenes are gripping. The dialogue can be improved and some scenes are just too long – it would have been better if it were less than 120 minutes.

The Longest Ride, like all Nicholas Sparks’ story, is not your typical Hollywood romance. It shows good, old-fashioned chivalry and dedication to duty before self interest. Love is not a one-night-stand that crumbles when faced with difficult situations. “Love requires sacrifice...always.” It is noble and true. It allows the beloved his/her freedom and it endures, no matter what. This is not confined to romantic love alone. The film shows care and concern for one’s parent, neighbor, and friend, even at the cost of one’s life.

The film may garner negative comments from critics for being unrealistic and sappy but it stands firm on its Christian view of love and its four forms: agape, phileo, storge, and eros.

CINEMA gives this film an V18 rating for extended sex scenes/nudity, war and violence.

You're my boss

DIRECTOR: Antoinette Jadaone  LEAD CAST: Toni Gonzaga, Coco Martin WRITER, SCREENWRITER: Antoinette Jadaone  EXECUTIVE PRODUCERS: Malou N. Santos, Charo Santos-Concio  CAMERA AND ELECTRICAL DEPARMENT: Oli Lapera Jr. GENRE: Comedy, Romance  PRODUCTION COMPANIES: ABS-CBN Film Productions, Star Cinema Productions  DISTRIBUTORS: Star Cinema Productions (2015) (Philippines)  LOCATION: Philippines  LANGUAGE: English/Pilipino            RUNNING TIME: 116 mins.

Technical Assessment: 3.5

Moral Assessment: 3

CINEMA Rating: PG 13 

Si Georgina (Toni Gonzaga) ay may mataas na posisyon sa marketing department ng isang maliit na airline company. Nang magpaalam para magbakasyon ang kanyang boss (Freddie Webb), inihabilin siya nito kay Pong (Coco Martin), bilang kanyang assistant. Hindi magkasundo sina Pong at Georgina sa umpisa. Masungit at modern si Georgina. Kimi at simple naman si Pong. May isang importanteng deal ang kumpanya ni Georgina na kailangan niyang maisara at ito rin ang magsasalba sa kahihiyan na naidulot niya sa kumpanya minsang magwala siya sa harap ng mga pasahero ng eroplano at maging viral ang video nito. Ngunit tumangging makipag-usap sa kanya ang mga Hapones na investor dahil ang gusto nitong kaharap ay ang boss ni Georgina. Kaya nang magkaroon ng pagkakataon, ipinakilala niya si Pong bilang kanyang boss. Dito magsisimula ang masalimuot na relasyon nina Pong at Georgina. Magkaigihan kaya sila o lalo pang tumindi ang kanilang pag-aaway?

Ang You’re My Boss ay isang pelikulang sinadyang gawin para sa mga artista nito. Sadyang ibinagay sa dalawang bida ang mga karakter nila. May pagka-predictable ang pelikula dahil dito ngunit di naman maiaalis na may kuwento pa rin itong gustong sabihin. Kung tutuusin ay hindi kapani-paniwala ang pinaka-buod ng pelikula. Pawang mahirap paniwalaan na magiging ganun kadali ang mga biglaang pagbabalat-kayo ng bida na maging boss buhat sa pagiging ordinaryong assistant lamang. Pawang mahirap paniwalaan at lalong mahirap panindigan ang ganitong uri ng kasinungalingan. Sa maraming eksena, tila kakatwa ang nagiging kinakalabasan nito. Marahil sadyang hindi bagay ang dalawang bida mula pa sa simula. Sa kabila nito, maayos naman ang daloy ng kuwento dahil naka-sentro ito sa dalawang bida. Maayos din ang mga kuha ng camera at sadyang malaki ang naitulong ng magandang tanawin ng Batanes sa ikakaganda ng pelikula. Pero pawang may kulang sa kabuuang dating ng pelikula. May timplang hinahanap ang mga manood—marahil ito ang kilig na mahirap makuha mula sa dalawang bidang pilit na ibinabagay. O marahil dahil nakakahon pa rin ang pelikula sa isang nakakabagot na pormula ng romantic-comedy.

Marami namang mapupulot sa pelikulang You’re My Boss. Naka-sentro dito ang patungkol sa katotohanan. Nagsimula ang pelikula sa paninindigan sa isang kasinungalingan at pagbabalat-kayo. Sa mundong ito at sa panahong ito ng pagbabalat-kayo, tila mailap ang katotohanan. Sa kabila ng ginawang pagkukunwari ng dalawang bida, nagawa pa rin naman nilang maging tapat sa bandang huli, hindi lamang sa kanilang kumpanya ngunit higit-lalo sa nararamdaman nila sa isa’t-isa. Nariyan din ang pagpapahalaga sa pamilya. Galing ang dalawang pangunahing tauhan sa magkaibang uri ng pamilya at dito makikita na parehas nilang pinahahalagahan ito dahil sa kanilang pinagdaan sa kani-kaniyang pamilya. Makikita rin sa pelikula ang kahalagahan ng pakikipag-kapwa tao, ng matutong bumangon mula sa kamalian, at ng pagtanggap ng pagkakamali ng may pagpapakumbaba. Sa bandang huli, isang bagay pa rin ang pinakamahalaga sa lahat—iyan ang pag-ibig na walang kinikilalang yaman o antas sa lipunan. Lahat ay nagiging pantay-pantay sa larangan ng pag-ibig.

Run all night

DIRECTOR: Jaume Collet-Serra  LEAD CAST:  Liam Neeson, Joel Kinnaman, Ed Harris, Genesis Rodriguez, Vincent D’Onoprio, Common  SCREENWRITER:  Brad Ingelsby  PRODUCERS:  Roy Lee, Michael Tadross, Brooklyn Weaver  EDITOR:  Craig Mckay  MUSICAL DIRECTOR:  Junkie XL GENRE:  Crime, Drama, Mystery Thriller  CINEMATOGRAPHER: Martin Luhe  DISTRIBUTOR:  Warner Bros. Pictures  LOCATION:  United States RUNNING TIME: 114 minutes

Technical Assessment: 3.5

Moral Assessment: 3

CINEMA rating: V 14

            Brooklyn mobster and hit-man Jimmy Conlon (Liam Neeson) and his underworld boss Shawn Mcguire (Ed Harris) are long time best friends. Shawn’s son Danny (Boyd Holbrook) double-crosses some drug dealers and kills them.  Jimmy’s estranged son Mike (Joel Kinnaman) witnesses the crime. Danny hunts down Mike, catches him at home, and when about to shoot him is shot dead instead—by Jimmy himself. Jimmy confesses to Shawn that he has killed Danny to save Mike’s life. Burning with vengeance, Shawn deploys his gang and expert assassin (Common) to kill Jimmy and Mike.  Father and son run all night for their lives and those of Mike’s family.

            Run All Night is heavily charged with dramatic plotlines that delve deep into the very core of the main characters’ motivations. Much of the revelations are done through expository dialogue but the actors’ strength of delivery and proven caliber deliver those verbose sequences with compelling ease. The story is plotty but not complicated and the audience could easily follow the journey of the characters. However, the heavy plot could sometimes turn away the story from its main focus. The film shines through in the scenes where there is minimal action. In fact, the action sequences seem to be out of place sometimes and the inclusion of an expert assassin feels a little off. But then, the impeccable acting and characterization of principal actors pull everything off and make the film interesting and enjoyable to watch.

            There are plenty of interesting relationships at play in the film and it is very interesting to dissect the values that cut-through in this crime-drama feature.  It starts off with the valued friendship between Jimmy and Shawn. Their loyalty to one another is time-tested, although the foundation of their friendship (which is primarily crime) is another story. Their friendship ended when Jimmy chose to save his son over Shawn’s. And there, the conflict arises. One major realization audiences can ponder on is the significance of the foundation of friendship. Jimmy and Shawn are best friends and partners in crime.  From the beginning, the friendship is tainted because it is founded on something evil. Friendship is good but crime is evil. The friendship does not make crime any less evil. Here it is clearly seen that evil is evil—and it recognizes no friendship. Jimmy is a broken person and seems to have suffered the consequences of his actions, the heaviest of which is his estranged relationship with his son. When he found opportunity and purpose to be a father to his son, it is quite too late. But then, love reigns in all situations—the actions of Jimmy may be evil but he is not.  Jimmy is still capable of loving.  He is a sinner yet as the Church has always been telling the people—hate the sin, not the sinner. Jimmy found purpose in life and that is to make amends with his son. His son could not accept him at first. But Jimmy demonstrated unconditional love so his son eventually melted. If time could not heal the wounds, love will. Jimmy’s actions towards the end of his life brought him redemption. But then, it does not make his previous actions right, but his sincere contrition and remorse clearly show that it is never too late for somebody to change ways, and to change heart.  Jimmy may have been trapped in a world he never really desired—and this is clearly seen in the film as he tries as far as possible to prevent his son from pulling even a single trigger—such consistency depicted in the story make the film moral despite and in spite of the heaviness of crime being tackled in the movie.

Insurgent

--> DIRECTOR: Robert Schwentke  LEAD CAST:  Shailene Woodley, Ansel Elgort, Theo James, Kate Winslet  SCREENWRITER: Brian Duffield, Akiva Goldsman, Mark Bomback based on Veronica Roth’s novel  PRODUCER:  Neil Burger, Lucy Fisher, David Hoberman, Todd Lieberman, Pouya Shahbazian, Barry H. Waldman, Douglas Wick, John Wildermuth  EDITOR: Stuart Levy, Nancy Richardson  MUSICAL DIRECTOR:  Joseph Trapanese  GENRE: Adventure, Sci-Fi, Thriller  CINEMATOGRAPHER:  Florian Ballhaus     DISTRIBUTOR:  Summit Entertainment  LOCATION:  USA RUNNING TIME: 119 minutes

Technical Assessment:  3 

Moral Assessment:  2.5

MTRCB rating:  PG  13 

CINEMA rating:  V14 

In the dystopian society of post-war Chicago, society is divided into five factions according to their most dominant personality trait and are tasked to uphold a specific quality: Dauntless for bravery, Erudite for knowledge, Candor for truth, Amity for peace and Abnegation for selflessness. Those who belong to more than one faction are called Divergents and are considered a threat to human existence. Tris Prior (Woodley), former Abnegation and trained in Dauntless was discovered to be a divergent in the previous movie while ambitious Erudite leader Jeanine Matthews (Winslet) spearheaded the attack on the entire Abnegation faction in order to gain control of the system. Insurgent begins where Divergent ends. We see the surviving Abnegation and Dauntless members hiding in Amity and Candor as Jeanine hunts down remaining Divergents in order to unlock a box that supposedly contains data from the city's founders and eventually end the Divergent problem. Meanwhile, Tris, Four (James) and the remaining Dauntless seek refuge with the Factionless whose leader, Evelyn Eaton (Watts), is also Four's mother who wishes to join forces and overthrow Jeanine and the entire faction system.

One needs to be familiar with the series to be able to appreciate the film. But even with its literary counterpart to provide the needed depth and texture, it is difficult to sympathize with them as they barely transcend the cardboard like characters. The sets and production design are able to give layers in the characters more than the performances and dialogues. The storyline is a little more cohesive but still fails to deliver a convincing argument about the faction system and the divergent and why and how it works. As an action film, the movie delivers breathtaking chase scenes and dazzling visual effects. But scrap all of these off the plate, you are left with a very thin plot that forces audience to believe the protagonist has valid issues to overcome and the antagonist is a real threat to the world. Even the concept of simulation, serums and making a single choice to define one's person is a little weak (both in the film and in the novel). On the technical side, the production design and scoring successfully interprets Roth’s idea of faction system and action events.

Does the greater good justify trampling over the rights and humanity of the few? We have heard this line from leaders who sought to rationalize their violence and cruelty. And we always hear this as an excuse for the so many inconveniences we suffer everyday.  Jeanine Matthews' defends her decision to slaughter an entire faction or force a group to kill each other or jump to their death for in order to ensure that society remains intact. So did one dictator when he had opposition leaders rounded up and incarcerated. So did Caiaphas when he insisted on having Pilate crucify Jesus.  But whose good are they really referring to? We have to examine our choices. It one thing to exercise tough love in order to serve a greater purpose but that purpose should always have as an end result love, respect and selflessness.  

Further, the exercise of one virtue does not mean neglecting all others—bravery does not mean violence and aversion to peace, truth does not mean tactlessness and being inconsiderate. While virtues are non-negotiables, they do not exist in black and white. That is why human beings are virtuous because it takes discernment and conscience as well. The film successfully underlines that Divergents (those with two or more dominant traits/virtues) are the instruments for society to survive and humanity to flourish. 

Cinderella

DIRECTOR: Kenneth Branagh  LEAD CAST: Lily James, Cate Blanchett, Richard Madden, Helena Bonham Carter, Holliday Grainger SCREENWRITER: Aline Brosh McKenna  PRODUCER: Tim Lewis & Barry Waldman  EDITOR: Martin Walsh  MUSICAL DIRECTOR:  Patrick Doyle  GENRE: Fantasy/romance  CINEMATOGRAPHER:  Haris Zambarloukos   DISTRIBUTOR: RKO Pictures  LOCATION: UK RUNNING TIME:  105 minutes

Technical assessment:  4

Moral assessment:  4

CINEMA rating:  GP

            Ella (Lily James) enjoys a short-lived childhood in a comfortable home in an estate, with loving, devoted parents.  As a very young girl, Ella is introduced by her mother to a magical world that makes the impossible possible, for instance, conversing with mice, geese and lizards in the family estate.  Everything seems endless perfection until illness strikes Ella’s mother suddenly, then death follows.  Before the fateful moment, however, her mother leaves Ella not jewels, not wealth, but two golden nuggets of advice: “Have courage, be kind.”   As Ella blooms into womanhood, her father remarries and takes Lady Tremaine (Cate Blanchett) for his wife.  The wicked stepmother moves in along with her two daughters Drisella (Sophie McShera) and Anastasia (Holliday Grainger), whose cruelty Ella repays with kindness, even to animals and strangers.  Magic becomes reality when the apprentice Kit (Richard Madden) and Ella’s Fairy Godmother (Helena Bon Carter) come into her life.

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        The Cinderella motif has had a long history that reportedly begins with a tale from Egypt in the first century BC.  Indeed, even older than Christ, the Cinderella theme has undergone various adaptations, forms, and interpretations, the “modern” one being the fairy tale by French writer Charles Perrault, published in 1697.  Since then Cinderellas have come and gone—on film, in plays, operas, and ballets, inspiring pop music, children’s bedtime stories and even coloring books.  Thus it was with a sigh of weariness that CINEMA met this 2015 version: “What? Another Cinderella?”  No—it is not “another” Cinderella.  Even in casting and CGI alone, this version tops it all.

            The power of fairy tales lies in how well they sweep the audience off their feet—to believe in magic and in never-never lands that promise happy ever-afters, to offer escape from ordinary life and hope for better times.  This Cinderella accomplishes all that—but does so without taking advantage of the viewer’s gullibility or justifying their romantic notions.  This Cinderella extols virtues from beginning to end—justice, forgiveness, patience, faith in man’s goodness, love, purity, and yes, courage and kindness.  “Have courage, be kind” is mentioned no less than five times on separate occasions, by different characters, nailing in a lesson with a velvet-covered hammer.  It makes clear distinctions between right and wrong, good and evil, vice and virtue.  The good guys are admirable and lovable; the bad guys are pathetic and must be forgiven.  In the end, it’s not just Cinderella and her prince who live happily ever after, but the citizens of their kingdom.  Can a movie get any more Christian than that?

 

Crazy Beautiful You

-->DIRECTOR: Mae Czarina Cruz  LEAD CAST:  Daniel Padilla, Kathryn Bernardo, Lorna Tolentino, Gabby Concepcion, Inigo Dominic Pascual, Dante Ponce  SCREENWRITER: Maan Dimaculangan, Jancy E. Nicolas, Bianca B. Bernardino, Carmi Raymundo, Rory B. Quintos  PRODUCER:  John Leo D. Garcia, Carmi Raymundo, Malou N. Santos, Charo Santos-Concio  EDITOR: Marya Ignacio  MUSICAL DIRECTOR:  Jesse Lucas  GENRE: Drama, Romance, Comedy  CINEMATOGRAPHER:  Moises Lee, Dan Villegas   DISTRIBUTOR:  Star Cinema Productions  LOCATION:  Capas, Tarlac and Metro Manila RUNNING TIME:   90 minutes

Technical assessment:  3.5     Moral assessment:  4

MTRCB rating:  PG13    CINEMA rating:  V13

            Isang “pasaway”  si Jackie (Kathryn Bernardo) na lumaking malayo sa inang nasa Amerika (Lorna Tolentino), walang dulot kungdi sakit ng ulo sa amang nasa Pilipinas (Dante Ponce), at walang ibang gusto sa buhay kungdi ang masunod ang layaw niya.  Bagama’t hiwalay ang kaniyang mga magulang (Lorna Tolentino at Dante Ponce), at kahit na dalaga na si Jackie ay sige pa rin sa pag-aagawan ang mga ito sa anak.  Gusto ni Jackie na makapag-aral sa New York, at hihimukin siya ng inang doktora na kung sasama lamang siya hanggang sa matapos ang isang medical mission sa isang malayong probinsiya , ay matutupad ang hiling niya.  Tatanggapin ni Jackie ang alok ng ina, at dito—sa kabilang ibayo ng bundok kung saan walang koryente at cellphone signal—mararanasan niya ang makisalamuha sa mga ita, ang matulog sa kawayang sahig ng kubo, at ang maunsiyami ang kahit anong gustuhin niya.  Dito rin niya matatagpuan si Kiko.  Ano ang magiging papel ni Kiko sa buhay ni Jackie?

            Sa biglang tingin, bantulot kaming panoorin ang Crazy, beautiful you sa pag-aakalang kabilang ito sa mga dalawa-isang-perang pelikula na ampaw ang kuwento pero puno naman ng kilig at pagbebenta ng produkto.  Lalo na pumasok na kami sa sinehan—puno ng tao mula ibaba hanggang itaas.  Pagkatapos ng palabas, napaghinuha naming kakaiba ito, at nakatutuwa ding isipin na kahit hindi ito karaniwang “masarap” sa panglasa ng karamihan ng mga Pilipinong manonood, ay marami pa ring tumatangkilik dito.  Malaman ang kuwento, kapupulutan ng maraming aral at temang mapag-uusapan ng buong pamilya.  Mahusay ang pagganap ng mga artista lalo na ni Padilla na nagpapakitang kaya niyang gampanan ang isang karakter na may kahinugan ng isip at damdamin.  Minsan nga lamang ay sobrang haba sa ilang madramang eksena (puwede namang “higpitan” nang kaunti ang dialogue nang walang nababawas na halaga sa kuwento), at kulang naman sa “build up” ang ilan, tulad ng prosesong mauuwi sa pagpapatawad ng mga tauhan sa isa’t isa—para tuloy minadali.  Pero mapapatawad na rin ang ganoong mga teknikal na pagkukulang dahil nasasapawan ito ng ibang mga maaayos na detalya at ng kabuluhan ng buong kuwento.

            Ang katangi-tanging ganda ng pelikula ay ang pagmulat nito ng paningin ng manonood na ang mundo ay hindi lamang ang sarili, ang pamilya, mga kaibigan at mga gusto mo lamang na isali sa mundo mo.  Naiiba sa karamihan ang Crazy, beautiful you—una, hindi ito karaniwang “pakilig” lamang; ikalawa, lahat ng mga tauhan dito ay nagpapakabait sa kabila ng mga pagsubok ng buhay; ikatlo, pinahahalagahan ng pelikula ang transformation ng isang tao, ang pamumukadkad ng kanyang higit na nakabubuting pagkatao; ikaapat, pinatutunayan nito na ang pagdamay ng isang tao sa mga kapos sa buhay ay nagiging ugat ng paghilom ng mga sugat ng kanyang nakaraan; ikalima, isinasaad dito naang  daan tungo sa tunay na pag-ibig at kaligayahan ay nabubuksan kapag natututuhan na ng isang tao ang magmahal ng wagas sa kaniyang kapwa-tao.

Kingsman: The Secret Service

DIRECTOR: Matthew Vaughn  LEAD CAST: Colin Firth, Samuel Jackson, Michael Caine, Taron Egerton, Sofia Boutella, Sophie Cookson, Mark Strong   SCREENWRITER:  Jane Goldman, Matthew Vaughn based on comic book series by Mark Millar and Dave Gibbons  PRODUCER:  Adam Bohling, David Reid, Matthew Vaughn  EDITOR:  Eddie Hamilton, Jon Harris, Conrad Buff IV  MUSICAL DIRECTOR:  Henry Jackman, Matthew Margeson  GENRE: Action, Comedy, Adventure  CINEMATOGRAPHER:  George Richmond  DISTRIBUTOR: 20th Century Fox  LOCATION:  United Kingdom, United States  RUNNING TIME:  129 minutes

Technical assessment:  3

Moral assessment:  2.5

MTRCB rating:  R16

CINEMA rating:  V16

            If you're prepared to adapt and learn, you can transform.  Kingsman: The Secret Service is based on the comic book series of the same title by Mark Millar and Dave Gibbons.  It is about Gallahad/Harry Hart (Colin Firth) recruiting a streetwise young man Gary 'Eggsy' Unwin (Taron Egerton) to replace his father Lancelot who died 17 years ago saving Hart’s life. Eggsy is in prison for resisting police and car theft. Gallahad gets him out and enlists him to be a Kingsman—which is a kind of independent secret service not connected to any government. In short, it is a company of spies—of gentlemen spies, although class is no requirement. While Eggsy undergoes intense training, a serious plot of controlling population to save the environment is being hatched by telecom giant Richmond Valentine (Samuel Jackson). Gallahad takes on the mission but things turn for the worse. Eggsy has to team up with Merlin (Mark Strong) and Roxy (Sophie Cookson), the recently accepted Lancelot when big boss Arthur (Michael Caine), ala M of Bond fame, proves untrustworthy. Will they succeed in saving the world?

            Kingsman is a parody of 1970s spy thrillers, particularly Agent 007. Looks like Firth would say at any moment: “The name is Bond, James Bond.” It is peppered with references to other spies and boasts of high-caliber actors who shine brilliantly. Firth is a pleasant surprise as a debonair action star, impeccably dressed, well-mannered but quick and deadly. Samuel Jackson with a lisp essays the eccentric villain convincingly, with his graceful knife-legged side kick Gazelle (Sofia Boutella). Newcomer Taron Egerton holds his ground in the scenes with these thespians including Michael Caine. State-of-the-art gadgets are not lacking and the irreverent, tongue-in-cheek humor makes you chuckle at some scenes, bringing back memories of spy thrillers you’ve enjoyed. But others leave a bad feeling at the mayhem and brutality of extended violence. The action scenes are skilfully choreographed but there is too much gore, even glee, at the massacre in a fundamentalist church. Not to mention colorful exploding heads to the tune of Elgar’s Pomp and Circumstance.

            Kingsman mixes comedy, violence and action but proposes certain values as well. And then makes fun of it. Quoting Hemingway, Galahad tells Eggsy that “there is nothing noble in being superior to your fellow man. True nobility is being superior to your former self.” He returns the supreme sacrifice of his father in saving Gallahad’s life by giving Eggsy the chance to bring out the best in himself. He also tells a group of thugs “Manners maketh man.” Then he proceeds to fight with each of them. When one of the trainees dies after the first test of the program, Merlin tells the group that teamwork is paramount. In the next scene Arthur commands the trainee to shoot his dog who is part of the team. The Kingsman is committed to “save the world” at the risk of his life. Gallahad exemplifies this and so do Merlin, Roxy and Eggsy as they work together to stop the planet wide genocide. Despite tech genius Valentine’s program to celebrate a new world safe from global warming, free offers come at a cost they can’t even imagine. Kingsman also falls into the cliché of showing women as merciless and capable villains, or sexual reward for saving the world.