X-men: Apocalypse

DIRECTOR: Bryan Singer LEAD CAST:  James McAvoy, Michael Fassbender, Jennifer Lawrence, Oscar Isaac, Nicholas Hoult, Rose Byrne, Tye Sheridan, Sophie Turner, Olivia Munn, Lucas Till  SCREENWRITER:  Simon Kinberg  PRODUCER:  Lauren Shuler Donner, Simon Kinberg, Bryan Singer, Hutch Parker  EDITOR:  John Ottman, Michael Louis Hill  MUSICAL DIRECTOR:  John Ottman  GENRE:  Action and Adventure, Science Fiction and Fantasy, Superhero film CINEMATOGRAPHER: Newton Thomas Sigel   DISTRIBUTOR:  20th Century Fox  LOCATION:  United States RUNNING TIME: 144 minutes

Technical assessment: 3

Moral assessment: 3

CINEMA rating: V14

MTRCB rating: PG

The film opens with an event that happened thousands of years ago in Egypt—the ancient powerful mutant Apocalypse is being betrayed by his followers, keeping him entombed for centuries. Then fast forward to Year 1983—about ten years after the events of Days of Future Past, Charles Xavier aka Professor X (James McAvoy) is still running his school for the gifted that helps young mutants control their powers. Magneto (Michael Fassbender) on the other side of the earth is hiding and trying to live a peaceful, ordinary life with a new family—until a tragedy strikes. Mystique (Jennifer Lawrence) is trying to escape the limelight that came with saving the world back in 1973 and is traveling in secret, saving mutants around the world from dangerous and terrible situations. Meanwhile, Apocalypse awakens from thousands of years of slumber—and poses a threat to re-shape or destroy the world as he had planned before in his evil likeness. He recruits his new four horsemen—Storm, Angel, Psylocke, and Magneto—to join forces with him as he is out to destroy Professor X and his mutant allies along with entire humankind.

X-Men Apocalypse is another visual spectacle meant to keep up with the hype of its previous installments and franchise. The film may be successful visually in terms of computer graphic effects, but it utterly fails to deliver a solid story. The entire running time is wasted on useless pursuits—like the weak villain who appears to be of ultimate power and strength yet still invests in recruiting mutants to back him up. The film lacks centrality; the point-of-view is confusing with varied character arcs and incohesive subplots.  In its entirety, the film is entertaining yet lacks soul despite stunning performances of the lead casts and impressive visuals. It feels tiresome and convoluted with too many characters and elements. Despite its apparent flaws, however, the concept of the franchise is still genius and one cannot discount the fact that it takes extra-ordinary talent to come out with such a consistent blockbuster.

This latest franchise of the popular series now takes on a macro-perspective with a central theme of an ultimate evil out to destroy the world, still at the backdrop of humans gifted with superhuman capacities tagged as mutants. The gift or power is seen in the film as having the potential of being either a blessing or a curse to humankind. While Professor X sees it as a blessing that needs to be enhanced for the betterment of humanity, here comes Apocalypse whose selfish interest would make him use his power to destroy the world. With that, the battle is between good and evil, with the good at times confusing our notion of good with their evil looks. This goes to show that goodness lies in the heart and is always beyond what the naked eye can see, as humans tend to be inhuman at times in wrongfully judging the other as evil based only on outer appearance. Still, the values presented in the film should be emulated—faith in the true God, the power of good over evil, team-spirit and cooperation, self-control over one’s power to use it for greater good, courage and bravery to fight for what is right. Humans may well learn from mutants—that they have gifts, unique gifts that must be enhanced and used for the purpose of making this world a better place to live in. Given the dominant theme of darkness and of visuals and images that are quite disturbing although in context, CINEMA finds X-Men Apocalypse as appropriate only for viewers 14 and above.

Magtanggol

DIRECTOR: Sigfreid Barros-Sanchez  LEAD CAST: Tom Rodriguez, Denise Laurel, Joonee Gamboa, Ejay Falcon, Albie Casino, Yam Concepcion, Ricky Davao, Kim Domingo, Dina Bonnevie  SCREENWRITER: Sigfreid Barros-Sanchez, Henrie Famorcan Enaje, Henrie Dela Cruz  PRODUCER:  Jojo and Susan Dispo (Felix and Bert Productions)  EDITOR:  George Jarlego  MUSICAL DIRECTOR:  Francis Deveyra  GENRE: Political thriller (Indie Film), Action, Drama  CINEMATOGRAPHER:  Topel Lee  LOCATION:  Philippines RUNNING TIME: 143 minutes

Technical assessment: 3

Moral assessment: 2

CINEMA rating: V 14

Matagal nang kilala ang pamilya Magtanggol bilang mga makabayan at masugid na tagapagtanggol ng mga naaapi.  Isa sa kanila ay si Juancho Magtanggol na walang takot na naninidigan para sa mga karapatan ng mga Overseas Filipino Workers (OFWs) sa kabila ng mga balakid at batikos ng mga kalaban.  Ang angkan ng mga Magtanggol ay mayroon ding mga hindi pagkakaunawaang namamagitan sa iba’t ibang pamilya nila, ngunit sususporta sila sa senador na kaanak nang ito’y haharap bilang pangunahing suspect sa pagpatay ng mga abusandong amo ng mga OFWs.

Ayon sa prodyuser ng pelikula, si Gng. Susan Dispo, ginawa nila ang Magtanggol bilang isang advocacy.  Ang bahagi ng kikitain nito sa takilya, diumano, ay inilalaan tungo sa pagpapatayo ng isang gusaling matitirhan ng mga OFWs habang pinoproseso nila ang kanilang mga dokumento pa-abroad.  Mula sa kuwentong katha ng kabiyak niyang si Jojo Dispo, ang Magtanggol ay tinanggihan ng malalaking mga producers at networks pagka’t ang hanap ng mga ito ay mga popular na kwento ng romansa.  Gayun pa man, itinuloy nila ang pelikula.  “Batid naming ang mga hirap na pinagdaraanan ng mga OFWs, ang mga sakripisyo nila mapuno lamang ang mga Balikbayan boxes na ipinadadala nila sa Pilipinas tuwing pasko at gitna ng taon, at nais naming makatulong sa kanila,” ani Gng. Dispo tungkol sa mga manggagawang nag-aangat ng ekonomiya ng bansa.

Maliit ang budget ng Magtanggol, at may puntong halos sumuko na ang mga Dispos dahil sa bumibigat na gastos, pero pinalad silang makasama ang mga malalaking artistang naniniwala sa kanilang adbokasiya, pahayag ng mga Dispos sa press conference noong mag-premiere ang pelikula kamakailan sa SM Mall of Asia.  Ayon kay Dina Bonnevie, “Ang tutok ng pelikula ay upang pangalagaan ang OFWs, kaya nga iyon ang pamagat nito. Ano ang ipagtatanggol mo? Ang adhikain mo na hindi malinis, ‘yung gusto mong mangyari sa buhay mo na nakakasakit ka ng ibang tao pero kapag ginawa mo ay may makakamkam kang pera o ipagtatanggol mo ba ang dangal at pangalan ng pamilya mo o ang dangal at pangalan ng Pilipino?”  Dapat lamang na ipagpatuloy ng industriya ang paggawa ng mga pelikulang may “social relevance”, ayon sa artista.  Kapag nagustuhan ito ng publiko, ani Gng. Dispos, gagawa ulit sila ng isa pang pang pelikulang makakatulong sa ating mga kababayan, at susuportahan ng mga manonood na gusto ring sa kapwa. makatulong   At ito, ayon sa CINEMA, ang halaga ng Magtanggol bilang isang pelikula—ang magkaroon ng adhikaing makapaglingkod sa ikabubuti ng kapwa at lipunan sa pamamagitan ng pelikula. 

Now you see me 2

DIRECTOR: Jon M. Chu  LEAD CAST: Mark Ruffalo, Morgan Freeman, Lizzy Caplan, Woody Harrelson, Jesse Eisenberg, Dave Franco  SCREENWRITER: Ed Solomon  PRODUCER:  Bobby Cohen, Alex Kurtzman & Roberto Orci  EDITOR: Stan Salfas  MUSICAL DIRECTOR:  Bryan Tyler  GENRE: Action/Comedy  CINEMATOGRAPHER:  Peter Deming  DISTRIBUTOR: Summit Entertainment  LOCATION:  USA, China RUNNING TIME:  127 minutes

Technical assessment:  3

Moral assessment:  2.5

CINEMA rating:  V14

Two years after the events after Dylan (Ruffalo) put Thaddeus Bradley (Freeman) behind bars for allegedly being one of the reasons for his father’s untimely death, the Four Horsemen are recalled to expose the unethical practices of a Tech magnate. The 3 original magicians Danny (Eisenberg), Meritt (Harrelson) and Jack (Franco) are joined by Lula (Caplan) and prepare for their comeback performance under the supervision of their leader Dylan. But the collaborative efforts of Thaddeus, Walter (Radcliffe) and Merrit’s evil twin, their plan is thwarted and their identities exposed. Even their escape plan is thwarted as the Four Horsemen find themselves in Macau where Walter, apparently one of the investors of Tressler (Caine), is itching for payback unless they still for him a special chip which can access and control the entire computer system of the world. Meanwhile, Dylan strikes a deal with Thaddeus to find and rescue his friends.

Now You See Me 2 still carries a problematic storyline line with its ambitious desire to create complications, depth and sudden reveals. Most of them come off as irrational and confusing, especially how Thaddeus is suddenly a good guy. However, John Chu, who takes over Louis Leterrier, brings with his directorial style a suave entertainment and engaging humor. The actors seem to be more at ease and confident with their roles that they effortlessly lure us into their lives and emotions. Caplan’s Lalu adds more sparkle to the group and Harrelson totally sold his personality that producers duplicated his character. The magic tricks are not as impressive as those in the first movie but there are notable moments, like the card passing sequence and the Opening Billboard. Overall, Now You See Me 2 is not necessarily an improvement story-wise but is definitely more appealing as a relaxation weekend movie.

While the very premise of a group using their respective talents to expose unethical practices and punish criminals may carry some romantic sanction, viewers should not overlook that vigilante justice is neither honorable nor morally acceptable. This, has been the battlecry of Dylan in the first movie but this time he lets go of personal grudges, compromises and sacrifices himself for the sake of friends, and learns to forgive and forget—thus becoming the person, or magician, he is meant to be. Once, we learn to perfect our talents, not for self-serving reason but for other people, then we are able to discover how much better and more beautiful a person we can become. However, the ending scene implies two things. One, that there will be another sequel/job for the Four Horsemen. Second, that the group is to function outside the law under the supervision of The Eye, who decides who to expose, who to punish and how it should be done. The very young audience might be too engrossed by the glossy entertainment and ignore that Robinhoods and vigilantes are not the ideal heroes they should imitate.

The nice guys

DIRECTOR: Shane Black  STARRING: Russell Crowe, Ryan Gosling, Angourie Rice, Matt Bomer, Margaret Qualley, Keith David, Kim Basinger, Ty Simpkins  PRODUCER: Joel Silver  EXECUTIVE PRODUCERS: Anthony Bagarozzi, Ken Kao, Michael J. Malone, Hal Sadoff  CO-PRODUCERS: Aaron Auch, Ethan Erwin  WRITERS: Shane Black, Anthony Bagarozzi  FILM EDITOR: Joel Negron  MUSIC:  David Buckley, John Ottman  CINEMATOGRAPHY: Philippe Rousselot  ART DIRECTOR: David Utley  PRODUCTON DESIGNER: Richard Bridgland  SOUND DESIGNER: James Harrison COSTUME DESIGNER: Kym Barrett  GENRE: Action, Mystery, Comedy  PRODUCTION COMPANIES: Silver Pictures, Waypoint Entertainment, RatPac-Dune Entertainment  DISTRIBUTORS: Warner Bros. Pictures  COUNTRY: United States  LANGUAGE: English RUNNING TIME: 116 minutes

Technical assessment:  3.5        Moral assessment: 2.5

CINEMA rating:  V18

In 1970s Los Angeles, bumbling private detective Holland March (Ryan Gosling) and muscle-for-hire Jackson Healy (Russell Crowe) become unlikely partners when they find themselves both looking for a missing woman named Amelia (Margaret Qualley) following the death of a high-profile porn star. Amelia's ties to the deceased actress are unclear, but as other members of the porn industry turn up dead, March and Healy's investigation reveals a much bigger conspiracy than the duo could have ever anticipated. With the help of March's teenage daughter Holly (Angourie Rice), their sleuthing eventually unearths a shocking corruption scandal that reaches up to the highest circles of power. (Review to follow)

Teenage Mutant Ninja Turtles: Out of the shadows

DIRECTOR: Dave Green  LEAD CAST: Laura Linney, Megan Fox, Stephen Amell, Will Arnett, Brian Tee, Tyler Perry, Brittany Ishibashi,  PRODUCERS: Michael Bay, Andrew Form, Brad Fuller, Scott Mednick, Galen Walker  SCREENWRITER: Josh Appelbaum, Andre Nemec  EDITOR: Jim May, Bob Ducsay  CINEMATOGRAPHER: Lula Carvalho  MUSIC: Steve Jablonsky  GENRE: Science Fiction  BASED ON: Teenage Mutant Ninja Turtles by Kevin Eastman & Peter Laird  PRODUCTION COMPANY: Nickelodeon Movies, Platinum Dunes, Gama Entertainment, Mednick Productions, Smithrowe Entertainment  DISTRIBUTOR: Paramount Pictures LOCATION: United States  RUNNING TIME: 112 minutes

Technical assessment: 2.5

Moral assessment:  2.5

CINEMA rating: V14

When the evil Shredder (Brian Tee) escapes from prison with the help of Dr. Baxter (Tyler Perry), a scientist, he develops his own mutants Bebop and Rocksteady. Together with the deranged extraterrestrial Krang (voice by Brad Garrett), they unite to pursue world domination.  The Turtles Leonardo, Donatello, Raphael, and Michael Angelo team up with April O’Neil (Megan Fox), news reporter Vern Fenwick (Will Arnett) and their new vigilante friend Casey Jones (Stephen Amell) to defend New York City from destruction.  The Turtles also face an impending invasion from Krang.  (Review to follow)

Warcraft: the beginning

DIRECTION: Duncan Jones; STARRING: Travis Fimmel, Paula Patton, Ben Foster, Dominic Cooper, Toby Kebbell, Daniel Wu, Ben Schnetzer;   STORY: Chris Metzen based on the animated video game;  SCREENPLAY: Charles Leavitt, Duncan Jones;  CINEMATOGRAPHY: Simon Duggan; EDITING: Paul Hirsch;  PRODUCER: Charles Roven, Alex Gartner, Stuart Feneran; GENRE: Action Fantasy; LOCATION: Azaroth; DISTRIBUTOR: Universal Pictures; RUNNING TIME: 123 minutes

Technical assessment: 2.5

Moral assessment: 2.5

CINEMA rating: V14

MTRCB rating: PG13

Gul’dan (Wu), an Orc warlock, wants to lead the Orc race out of their dying world, Draenor, into the world of men and elves, Azeroth. But Gul’dan’s magic, called the Fel, which opens the portal to the new world is fueled by the life force of captives. In order to have more sacrificial prisoners, Gul’dan leads a small army into Azeroth. Despite their doubts, Durotan (Kebbell), the chieftain of the Frostwolf clan, his pregnant wife Draka (Galvin) and his friend Orgrim join the army. Meanwhile, Sir Lothar (Fimmel), military commander of the kingdom of Stormwind and the King’s brother-in-law, captures Khadgar (Schnetzer), a young mage investigating the raids on human villages. He notices that the villagers’ death was caused by the Fel and convinces Lothar and the King to consult with the guardian Medivh (Foster) about the sinister magic. Following his instincts, Khadgar discovers that the orc could not have opened the portal without help from Azeroth while Durotan realizes the Fel consumes the very world were Gul’dam resides and in time will turn Azeroth as decayed as Dreanor. In time, Medivh is revealed to have been consumed by the Fel and the traitor who opened the portal for the orcs.

Warcraft has a ready market—the hundreds of DOTA players familiar with the characters and quirks of the game. This must have been the rationalization of the film’s producers for wanting to come up with this franchise. However, banking on the online players might have been a mistake more than an advantage because the game does not have a narrative—the film’s attempt to add drama felt feeble, forced, and dragging. The game is about strategy; the movie wants to venture on drama. The result is a storyline so simple, unoriginal, and confusing for non-players, as there are just too many names and concepts to follow. The performances are mediocre and fail to endear any of the characters to the audience. Nobody cared for anyone—not even the cute little baby orc left to float in the river by its mother. But what it lacks in content is salvaged by its elaborate visual styles, rich textures, and amazing integration of motion capture that maintains soulful and expressive eyes. Overall, there are some good technical elements here and there but not enough to qualify for a movie. In the future, the producers should just stick to the video game.

Warcraft tries to tackle concepts familiar to epic adventure genres. In broad strokes, it delivers the importance of honor over victory, brotherhood and loyalty over ambition and courage over hopelessness, but the violence that is pre-packaged because it is based on a war game supersedes whatever moral or ethical values the film may have.

Love me tomorrow

Director:  Gino Santos  Cast:  Piolo Pascual, Dawn Zulueta, Colleen Garcia  Screenwriter:  Jeff Stelton, G3 San Diego  Producer: Star Cinema  Genre:  Drama, Romance  Location:  Philippines  Running time: 110 minutes

Technical assessment: 3

Moral assessment: 2.5

CINEMA Rating: V14

MTRCB Rating:  PG13

Ipinapasyal ni Christina Gonzales (Dawn Zulueta) ang kanyang aso sa isang mall nang bigla itong tatakbo at dadambahin ang pagkain ni DJ Jaycee (Piolo Pascual).  Magkakakilala silang dalawa at magkakalapit sa kabila ng pagiging presko ni Jaycee kay Christina. Isang biyuda na nagsisimula sa clothing design business si Christina at pamosong disk jockey  o DJ sa disco bar naman si Jaycee; malaki ang agwat ng kanilang mga edad.  Magiging instrumento ang  muling pagkikita nina Christina at ng dating kaklase na si Angie (Carmi Martin)  sa magiging relasyon niya kay Jaycee. Hilig kasi ni Angie at ng mga amiga nitong mga PR ang mag istambay sa mga bar.  Sasama lagi si Christina sa kanila habang tinutulungan siya ng mga ito na pasikatin ang kanyang mga clothing designs. Magiging modelo niya sa gawang kasuotan ang kaibigan at sexual partner ni Jaycee na si Janine (Coleen Garcia).

May kakaibang dating ang temang May-December affair sa Love Me Tomorrow.  May hatid itong kilig sa kabila ng malaking agwat ng edad nina Zulueta at Pascual gayundin sa mga tauhan na kanilang ginampanan. Kaabang-abang ang mga eksena at di predictable ang wakas. Subalit di ito nakaligtas sa tipikal na wakas ng pelikulang Pilipino na may special participation ng mga bagong partners para feel good. Di mapapasubalian ang husay ni Zulueta sa pagganap at magandang projection niya sa screen.  Bagay sa kanya ang karakter ni Christina  Gonzales. Samantala medyo asiwa naman ang papel na ginampanan ni Pascual na preskong DJ pa din sa edad na 35 at may ka-FUBU (f--k buddy) na 25 anyos. Ganun paman ay nabawi ng mahusay na trato ng director ang ilang sablay sa pagtalaga ng tauhan sa kwento. Makahulugan din ang palitan ng mga linya lalo na ang mga narration ni Christina Gonzales sa bandang huli. Maganda ang disenyo ng produksyon pati ang mga sinematograpiya.  Naipakita ang kaibahan ng mga sex scenes sa pagitan ng “FUBU” na tila nagpaparaos lang at ng nagmamahalan na may passion. Mahusay ang mga inilapat na musika lalo na ang pagtatampok sa theme song na Love Me Tomorrow sa saliw ng remix. Akma rin ang tunog at ilaw.    

Dahil ang pag-ibig ay isang damdamin na di kumikilala ng tama at mali, pagkakataon ito na gamitin ang pag-iisip upang maging maayos ang lahat para sa mga taong sangkot.  Ang tunay na pagmamahal ay may pang-unawa, sakripisyo at pagpapalaya para sa minamahal.  Sa lahat ng pagkakataon ay dapat maging mapagmatyag ang tao sa kani-kanilang kahinaan. Ito ang hindi nangyari sa malaking bahagi ng pelikula sapagkat  lahat ay bumigay at sinikap na lamang isalba sa bandang huli. Salamat at umiral ang wisdom ng pagiging ina ni Christina bago natapos ang pelikula. Nakababahala ang ipinakitang casual sex sa pagitan ng magkaibigan at ng babaeng may edad sa mas bata sa kanila, pati mga preskong salita ng isang lalaki sa babae na mas matanda sa kanya, sulutan sa negosyo, at insecurities.  Gayundin, maaring akalain ng mga manonood na okay lang ang napakabilis na pagkahulog sa isang  preskong DJ ng isang 50-anyos na biyuda na maayos na nakapagpalaki ng mga anak at nagsisimula ng disenteng career. Sagana sa vulgar words na iningles lang para “pa-class” ang dating.  Alalayan sa paliwanag ang mga anak ninyong manonood nito na may murang isipan, anuman ang edad.

My candidate

DIRECTOR: Quark Henares  CAST: Derek Ramsay, IzaCalzado, Shaina Magdayao, Nico Antonio, Ketchup  PRODUCER: Joji Alonso  SCREENPLAY: Chris Costello, Mikael de Lara Co  CINEMATOGRAPHER: Ma. Solita Garcia  CREATIVE PRODUCER: Dan Villegas  PRODUCTION COMPANIES: Quantum Films, MJM Productions, Tuko Film Productions at Butchi Boy Films  DISTRIBUTORS: Quantum Films  LOCATION: Philippines  GENRE: Romantic Comedy  DURATION: 105 mins.

Technical assessment:  3

Moral assessment: 3

CINEMA rating:  V13

Nais mag-level up sa kanyang political career ang kasalukuyang Congressman na si Sonny Suarez (Derek Ramsey). Mula sa pagiging kinatawan ng distrito ay tatakbo siya sa national position bilang senador. Galing sa kilalang angkan ng mga politiko si Sonny. Maayos ang kanyang records at educational credentials. Subalit iba ang usapan kapag national level ang labanan, kailangan ni Sonny ng ibayong karisma upang makilala at mapalapit sa tao. Kinontrata ng team ni Sonny ang serbisyo ng communication expert na si Billie Pono (Shaina Magdayao) upang bigyan ng make-over sa pakikisalamuha ang Congressman. Sa kabila ng natural na pagkailang sa tao ay nagiging epektibo ang mga pointers na binibigay ni Billie kay Sonny. Lalong iigting ang kooperasyon sa pagsasanay sa pagsulpot ng tila magiging mahigpit na katunggali ni Sonny sa katauhan ng kanyang dating kasintahan na si Vera Chavez (Iza Calzado). Apektado si Sonny sa pagtakbo ni Vera dahil nga hinaluan ng isyung politika ang kanilang nakaraan na labis niyang dinamdam. Subalit ang mas higit palang maapektuhan ay ang communication trainer na si Billie at ang napipinto nilang pagkahulog sa isa’t isa.

Katulad ng sinasaad ng titulo, napapanahon ang pelikulang My Candidate.  Pinalabas ito sa mga sinehan dalawang araw matapos ang pambansang halalan. Tumalakay ng mga isyung personal sa mga kandidato na pumapalaot sa pulitika. Nakasentro ang kwento sa karakter ni Sonny, sa kanyang political dreams, at sa mga relasyon na masisira at mabubuo dahil sa pulitika. Mahusay ang trato ng direktor sa pinaghalong satire, romance, at comedy. Di tulad ng ibang may katulad na tema, ang My Candidate ay nakaaaliw at magaan panoorin, Maganda ang mga communication pointers na makakatulong sa pakikisalamuha ng tao kahit wala sa pulitika. Maganda ang cinematography, makakatotohanan ang mga kuha, at malinis ang editing. Pinalutang ng mga ito ang magandang disenyo ng produksyon.  Akma ang mga inilapat na tunog, ilaw at musika.  Mahusay ang mga pagganap ng mga pangunahing tauhan lalo na sina Ramsey at Calzado, may pagka OA naman ang dating ng acting ni Magdayao sa ilang mga eksena ng training nya kay Sonny. Sa kabuuan ay maganda ang teknikal na aspeto ng pelikula.

Higit sa pagiging politiko na itinataas palagi ang sarili sa panahon ng kampanya at kadalasan ay may mga pansariling interes, paglilingkod ang pangunahin para sa sinumang nagnanais na maging isang public servant. Ito ang isa sa mga naging mensahe ng pelikulang My Candidate. Gayunpaman, ang pag-aaral at pagpapalago ng kasanayan at kaalaman ay panghabang buhay kahit sa anong larangan—tulad ng pulitika at sa pakikipagrelasyon. Binigyan-diin sa pelikula ang kahalagahan ng communication sa pakikisalamuha at pagtulong sa kapwa. Makakatulong sa mga manonood ang mga puntos na itinuro ni Billie kay Sonny para mas maging mabisa ang kanilang pakikipag-ugnayan.  Ipinakita din sa pelikula na pwedeng maging instrumento ang isang tao upang lalong lumago at magtagumpay ang kapwa. Sa mga ganitong pagkakataon ay tiyak din ang pakikinabang sa sariling paglago katulad ng nangyari kay Billie, na sa pagtulong kay Sonny ay marami ding natutunan para sa kanyang sariling paglago.

Equals

Direction: Drake Doremus; Cast: Nicholas Hoult, Kristen Stewart, Guy Pearce, Jacki Weaver; Story: Drake Doremus; Screenplay: Nathan Parker; Cinematography: John Guleserian; Editing: Jonathan Alberts; Music: Sascha Ring, Dustin O’Halloran; Producers: Michael Pruss, Chip Diggins, etc; Genre: Romance-Drama; Location: Future Distributor: A24; Running Time: 101 minutes

Technical assessment: 3

Moral assessment: 3

CINEMA rating:  V14

MTRCB rating:  R13

Silas (Nicholas Hoult) and Nia (Kristen Stewart) live in a dystopian society where emotions, physical contact and relationship are prohibited and treated as a dysfunction. But for these two, the attraction transcends the oppressive culture. Do they sacrifice their safety to give in to their emotions or do they fight for their freedom to choose love? More importantly, can society exist on plain rules and policies alone?

There is nothing new in the film, plot-wise. We have seen and heard the same issues in films like Gattaca. Symbolisms are thrown here and there but not explored deep enough. The screenplay is quite simple and predictable. However, the movie excels in its production design and artistry. The clinical cleanness of the scenes brings iciness to match its theme. The setting provides a perfect contrast to the burning passion Silas and Nia have to bury. And these alone provide the tension to make the ordinary love story interesting. Kristen and Hoult have good onscreen chemistry and enough charm to make the audience root for their happy ending.

Society is hypocritical when on the one hand it tells you emotions and relationship are intrinsic to human survival but on the other hand expect you to use your head and be very objective in decisions to succeed in a capitalist world. In Arts and in marketing, emotions are emphasized but in business and politics they are tossed aside. Equals seems to be a commentary on this dichotomy with a clear annotation that it is impossible for human beings to live without emotions to express themselves. Because this is a love story, it will be inclined to stress how human emotions will take over systems. And because it is targeted for young adults and teenagers, it sends the message that human beings are expected to defy heaven and earth for the sake of love. And then we end up with rebellious, confused, self-absorbed youngsters who think they are saving the world when they are in the embrace of their beloved. While we believe emotions are necessary for a person’s holistic growth, emotions do not necessarily supersede systems and rules. There should be a balance that comes with moral ascendancy and discernment. The movie is clean and safe but delivers simplified messages that are easily misconstrued but younger minds.

Just the 3 of us

DIRECTOR: Cathy Garcia-Molina  EXECUTIVE PRODUCERS: Malou N. Santos, Charo Santos-Concio  SCREENPLAY: Kiko Abrillo, Gillian Ebreo, Katherine Labayen, Vanessa Valdez  STARRING:John Lloyd Cruz, Jennylyn Mercado, Richard Yap, Joel Torre, Maria Isabel Lopez  GENRE:Romance, Drama, Comedy  PRODUCTION COMPANIES: ABS-CBN Film Productions, Inc., Star Cinema Productions  DISTRIBUTORS: Star Cinema Productions  COUNTRY: Philippines  LANGUAGE:Tagalog, English  RUNNING TIME: 122minutes

Technical assessment: 3

Moral assessment: 2

Cinema rating: V18

MTRCB rating: R13

      Malapit nang maging kapitang piloto si Uno (John Lloyd Cruz) at dito niya ibinubuhos ang kanyang oras at lakas dahil wala naman siyang maituturing na pamilya. Malalasing siya sa isang party at makaka-one night stand ang isang babaeng hindi niya kilala. Makalipas ang tatlong linggo, may isang babaeng magpapakilala at maghahabol sa kanya, si CJ (Jennylyn Mercado), na siya raw ang ama ng dinadala nitong sanggol. Hindi agad maniniwala si Uno, ngunit sa pagpupumilit at pagmamakaawa ni CJ, dahil wala na itong ibang malalapitan, mapipilitan si Uno na patuluyin at pansamantalang patirahin si CJ sa kanyang apartment habang hihintayin nito ang resulta ng paternity test para malaman kung anak nga niya ang dinadala nito. Sa simulaý pawang malaking abala si CJ sa buhay ni Uno, ngunit kalaunaý unti-unting mababago ang lahat habang nakikilala nila ang isa’t-isa.

     Isang makabagong tipo ng romcom ang Just The 3 Of Us. Mapangahas ito sa aspetong pagtalakay sa pagiging kaswal ng makabagong henerasyon hinggil sa gawaing sekswal sa paraang hindi malaswa. Mahusay ang pagkakatagni ng kwento at may mga eksenang talaga namang kabibiliban pagdating sa komposisyon, ritmo, at walang itulak-kabigin na pagganap ng mga pangunahing tauhan na sina Cruz at Mercado na talaga namang subok na sa ganitong larangan. Yun nga lang, naka-kahon pa rin sa nakasanayang fomula ang pelikula at hindi pa rin ito makawala sa predictable na mga lihis ng kuwento. Tila ba, halata na agad ang magiging kaka-labasang pagtatapos sa kabila ng sanga-sanga nitong pagliko (na pawang inaasahan na rin gawa ng kumbensiyon at formula). Ganunpamandin, isa pa ring aliw na panoorin sa kabuuan ang pelikula.

     Bagama’t isang romantic comedy, masyadong sensitibo ang tinalakay ng pelikula lalo na pagdating sa sekswal na relasyon at kaswal na pakikipagtalik. Hindi ito ipinakita sa paraang kapupulutan ng aral, bagkus, ay pawang kinukunsinti pa ang ganitong gawain bilang katanggap-tanggap. Bagama’t nariyan ang sanga-sangang kuwento ng kanya-kanyang hugot ng bawat tauhan, tulad ng masalimuot na kuwentong pamilya ni Uno at magulong buhay pag-ibig ni CJ, na nagdala sa kanila sa isang pagkakamali, hindi pa rin malinaw ang naging paninindigan ng pelikula ukol dito. Kahit pa hindi malaswa, may mga nakakabahala pa ring mga eksenang biswal na talaga namang sinasaromantiko at ginagawang senswal ang one night stand. Maaari naman itong natalakay nang may higit na pag-iingat ngunit iba ang pinapakita ng mga eksenang ito. Nakakabahala ito sa maraming kadahilanan – una, may batang karakter sa pelikula na mahaba-haba at tila mahalaga ang papel na ginampanan. Siya mismo ay hindi pa karapat-dapat na mapanood ang kabuuan ng sarili niyang pelikula dahil sa maselan nitong tema at maselang pagtalakay rito. Pangalawa, sa R13 nitong MTRCB rating, maraming mga teen-ager at kabataan ang makakapanood nito. Hindi ito magiging magandang halimbawa sa kanila at nakakababahala na gagawin nilang eksperimento ang pakikipagtalik sa labas ng konteksto ng kasal. Nangyayari sa totoong buhay ang pinakita sa pelikula, oo, pero nararapat na maging malinaw ang mensahe kung ito ba ay mabuti o masama. Hindi ito malinaw sa pelikula. Nagbibigay ito ng baluktot at taliwas na paninimbang—gaya ng gulo sa pamilya, at kung anu-ano pa. Mga dahilang tila hindi sapat. Naipakita sa pelikula na si Uno ay nagkaroon ng magandang kinabukasan bagama’t iniwan siya ng kanyang ama. Patunay na hindi ang nakaraan ng isang tao ang maghuhubog na kanyang karakter at kinabukasan. Si CJ na nasa magandang pamilya ay nakagawa pa rin ng pagkakamali. May pagsisisi sa bandang huli, ngunit pawang hindi sapat at hindi sinsero ang pelikula ukol dito. Sa kabuuan, higit na sinasaromantiko ng pelikula ang “casual sex” bilang makabagong pagsasalarawan ng pag-ibig. Ito ang dahilan kung kaya’t minamarapat ng CINEMA na ang Just the 3 of Us ay naaayon lamang sa manonood na may edad 18 pataas.

This time

DIRECTOR: Nuel Naval  LEAD CAST: James Reid, Nadine Lustre, Freddie Webb SCREENWRITER: Mel del Rosario  MUSICAL DIRECTOR:  GENRE: Romantic Comedy  DISTRIBUTOR: Viva Films  LOCATION:  Philippines/Japan  RUNNING TIME:  2 hours

Technical assessment:  3

Moral assessment:  3.5

CINEMA rating:  PG 13

            Magkababata sina Ava (Nadine Lustre) at Coby (James Reid), pero taon-taon lamang nagkikita sila, tuwing bakasyon sa tag-init, pagkat ang lolo at tumatayong magulang ni Coby (Freddie Webb) ay isang ambassador, at sa iba’t-ibang bansa sila naninirahan.  Habang sila’y mga musmos pa, may lakip na pag-iinisan ang kanilang pakikitungo sa isa’t-isa, pero sa paglakad ng panahon, kapag mga teenagers na sila, magsisimula silang magkalapit, at paglao’y magkakaroon ng pagkakaunawaan bugso ng kanilang pagiging dalaga at binata na nagsisimula nang maghanap ng isang espesyal na nilalang na maaari nilang mahalin habang buhay.  Sa kabila ng kanilang madalas na pag-uusap sa tulong ng internet, mamabutihin pa rin nila ang personal na pag-uugnayan na mangyayari naman sa Japan, at lalong magpapatingkad sa kanilang pagkakalapit.

            Malaking bagay na nakakadiskaril sa panonood ang hindi pagkakasabay ng tunog at pagbuka ng bibig ng mga tauhang nagsasalita.  Hindi rin pantay-pantay ang lakas ng tunog sa pananalita—minsa’y sapat lang, minsan naman ay biglang nakakabingi sa lakas.  Dagdagan pa ito ng medyo malabong pagsingit ng flashbacks na nakakalito sa manunuod, at lalong nagmumukhang kathang-isip lamang talaga ang inihahayag na kuwento sa pinilakang-tabing—nababawasan ang likas na kapangyarihan ng istorya na “pasakayin” ang mga tao sa pagkamakatotohanan nito.  Gayunpaman, nananaig pa rin ang tambalang “Jadine” sa mga eksenang maromansa—kilig na kilig ang mga manunuod, bigay-hilig ang paghiyaw kapag nagkakalapit na ang mga bibig ng binata at dalaga sa bawa’t halik.  Kaaya-aya ring masdan ang mga eksenang kuha sa Japan; nakapagbubukas ito ng isip tungkol sa kakaibang kultura nito.

            Maraming inihahantad na mabubuting bagay ang This time.  Isa na rito ay ang kahalagahan ng pagkakaroon ng magandang pakikitungo ng mga miyembro ng pamilya sa isa’t isa.  Sa anumang pagkakataon, lalo na sa panahon ng kalituhan o kalungkutan, ang suporta at katapatan ng isang maunawaing pamilya ang ang umaalalay sa isang tao.  Ang mga matatag at malusog na relasyon, sa pamilya man o sa labas nito, ay nakasalalay sa paggalang, sa kalawakan ng isip, at sa katapatan ng bawa’t isa sa kani-kaniyang sarili.  Itinatampok din ng This time ang pagiging kanais-nais ng isang malinis na relasyon sa pagitan ng isang binata at isang dalaga, at ang kagandahan ng paghihintay sa tamang panahon ng pagkakalapit ng mga puso.  Dahil may mga close-up na halikan sa pelikula, mungkahi ng CINEMA na ipaliwanag ito sa mga paslit na inyong isasama sa sinehan—hindi halikan ang pundasyon ng pagmamahalan nila Ava at Coby; bagkus ito ay sumisibol mula sa isang malinis na pagkakaibigang nagsimula noong kapwa walang malay pa ang dalawa. 

Mother's Day

DIRECTOR: Garry Marshall  LEAD CAST: Julia Roberts, Jennifer Aniston, Kate Hudson, Jason Sudeikis, Britt Robertson, Timothy Olyphant, Hector Elizondo, Jack Whitehall  SCREENPLAY: Tom Hines, Anya Kochoff Romano, Matt Walker  STORY BY: Tom Hines, Lily Hollander, Garry Marshall, Matt Walker  EDITOR: Robert Malina PRODUCERS: Brandt Andersen, Howard Burd, Daniel Diamond, Mark DiSalle, Mike Karz, Wayne Allan Rice  CINEMATOGRAPHER: Charles Minsky  MUSIC: John Debney  NARRATED BY: Penny Marshall  GENRE: Romantic Comedy  PRODUCTION COMPANY: Capacity Pictures, Gulfstream Pictures, PalmStar Media             DISTRIBUTOR: Open Roads Film LOCATION: United States  RUNNING TIME: 118 minutes

Technical assessment:  2.5

Moral assessment:  2.5

CINEMA rating:  V 14

            Mother’s Day, the holiday, is fast approaching, and families, especially mothers in the upscale neighborhood of Buckhead, in Atlanta, are nearing panic mode as they prepare for the special day.  Mother’s Day, the movie, is played out like a deck of playing cards—as the cards are thrown on the table at random, one never knows what each may reveal, because nearly all the characters in the houses harbors a secret.  Divorced mom Sandy (Jennifer Aniston) can’t get over the fact that her ex-husband is marrying a teenaged whistlebait. Sisters Jesse and Gabi (Kate Hudson and Sarah Chalke)—one is married to an Indian, the other is a lesbian whose partner is a single mom—shield their own children from their bigoted Texan grandparents. Widower Bradley (Jason Sudeikis) suddenly has to cope with maternal duties raising two young daughters recently orphaned by their military mother who died in Afghanistan.  Miranda (Julia Roberts) whose skills as tv-shopping guru have raised her to celebrity status is about to meet a biological daughter she had abandoned as an infant.

            With such a roster of mega-stars believably playing their roles in a story that throws the limelight on relatable mother-oriented fixes, viewers may not bother at all to scrutinize the other technical aspects of the movie, such as lighting, sounds, music, cinematography, etc.  At least not the moviegoers in Metromanila who filled up the cinemas during last Mother’s Day weekend.  Most American film reviewers (regularly published in mrqe.com) may understandably have a different take on Mother’s Day—presumably rooted in social cultural factors—thus they mercilessly lash out at its director for habitually exploiting the “estrogen crowd” with such holiday-based potboilers as Valentine’s Day (2010) and New Year’s Eve (2011), and now Mother’s Day.

            The critics’ claim is true that Mother’s Day does not go deep into the issues it brings up, rendering it superficial and rife with “forced nuttiness” and “shallow sentimentality”.  The contentious issues—sudden death of a spouse, racist beliefs, homosexual relations, modesty in dress in the presence of children, career vs. motherhood, parents and children’s differences in outlook, etc.—are indeed serious enough to each merit a drama feature themselves.  But it must be remembered that Mother’s Day chose to be a comedy, and as such is bound to be light, albeit laced with pathos.  It is deliberately “shallow”, not probing the psyche of the characters, but rather assigning them their specific spot in the picture, surrounding them with challenges, and leaving the thinking and the analysis to the viewer.  That Mother’s Day touches on the abovementioned issues and engages the imagination and discernment of the viewer is enough.  Not many movies designed to make us laugh can do that.

Captain America: Civil war

Direction: Anthony and Joe Russo; Cast: Chris Evans, Robert Downey, Jr.; Scarlett Johansson, Sebastian Stan, Don Cheadle, Jeremy Renner, Elizabeth Olsen, Paul Bettany, Tom Holland; Story: based on characters by Joe Simon and Jack Kirby; Screenplay: Christopher Markus, Stephen MsFeely; Cinematography: Trent Opaloch; Editing: Jeffrey Ford, Matthew Schmidt; Music: Henry Jackman; Producers: Kevin Feige; Genre: Sci Fi Action; Location: USA; Distributor: Walt Disney Studios; Running Time: 147 minutes

Technical assessment : 3.5

Moral assessment : 3

CINEMA rating : V14

MTRCB rating:  PG

In 1991, Hydra controls Buck/Winter Soldier (Sebastian Stan) into hijacking a car a scientist car and stealing a serum to create more superhuman soldiers. In the present day, the Avengers successfully thwarts an attempt to steal a biohazard weapon in Nigeria but Wanda (Elizabeth Olsen) inadvertently causes a hospital to explode, killing hundreds of innocent people. The world’s distrust of the Avengers’ sense of accountability grows, forcing the United Nations to step in to approximate control and liability through the Sekovia Accords. The Act divides the Avengers, with Stark (Robert Downey, Jr), Romanoff (Scarlett Johanssen), Rhodes (Don Cheadle), Vision (Paul Bettany) and lately Parker/Spiderman (Tom Holland) for signing the Act while Rogers (Chris Evans), Wilson (Anthony Mackie), Burton (Irons), Wanda, (Elizabeth Olsen), Lang (Paul Rudd) are against it. While tension between Stark and Rogers escalates, their conflict widens when the government orders the arrest of Bucky/Winter Soldier for bombing the UN Ratification meeting in Vienna, killing the Wakandan King which sends his son, Black Panther, to hunt Bucky and avenge his father’s death. In a twist of events, the Avengers are manipulated into destruction by Zemo (Daniel Bruhl) who realizes destruction of a powerful force happens when you break them from within, destroying their trust and friendship for each other.

Captain America: Civil War has a slow start and seems like forever to build up amidst all the characters and sub-plots. But when it does, the audience is taken into an addictive rollercoaster ride of emotional highs and beautifully crafted action sequences. The fight choreographies are stunning to watch while camerawork captures heart-pounding scenes clinically. The script, although too verbose at times, manages to give all 12 major characters their shining moments without straying from the storyline. The final twist in the end gives the film a darker yet more mature tone and credibility. Directors Anthony and Joe delivered one of the better Marvel franchises to date.

Guilt and revenge seem to be the underlying motivations that consumed the characters in the film prompting them to decide and act accordingly. For instance, Stark feels guilty about his oversight and consistent role in the destruction and death everytime Ironman battles the enemy. Black Panther and Col. Zemo willingly spend all their time and energy into avenging their family’s death. Wanda is conflicted because of her guilt in the events in Sekovia and Nigeria. While guilt serves a reminder of how we may have failed or chosen wrongly, we must learn to heal, forgive ourselves and start reparation not by beating ourselves to death but by making sure our future choices reflect common good. On the other hand, revenge leads us to more destruction and further deepens the wounds of loss and failure. Forgiveness and acceptance are the key to healing and moving on. Our future are a result of our past but not intertwined in them. Perhaps war begins when guilt or revenge is harbored too long, allowing it to consume our better judgments. Perhaps peace begins when we learn to let go and move forward without regret or anger—but with compassion, understanding and commitment to the common good.