Camp Sawi

DIRECTOR:  Irena Emma Villamor CAST:  Bela Padilla, Andi Eigenmann, Yassi Pressman, Kim Molina, Arci Munoz, Sam Milby   STORY:  Bela Padilla, Neil Arce  SCREENWRITER:  Irene Emma Villamor  DIRECTOR OF PHOTOGRAPHY: Maria Theresa “TEY” Clamor  MUSICAL DIRECTOR:  Francis de Veyra  SOUND SUPERVISOR: Dan Joseph Galapon  FILM EDITOR: Chrisel Desuasido  GENRE: Comedy, Drama  PRODUCTION DESIGNERS: Ferdie Abuel, Digo Ricio  EXECUTIVE PRODUCER:  Vic del Rosario, Jr.  PRODUCTON COMPANY: Viva Films, N-Squared Production  DISTRIBUTOR: Viva Films  COUNTRY: Philippines  LANGUAGE: Tagalog, English  RUNNING TIME: 83 minutes

Technical assessment: 3.5

Moral assessment: 2.5

CINEMA rating: V14

MTRCB rating: PG13

Magwawakas sa hiwalayan ang 10-taong relasyon ni Bridget (Bela Padilla) kay Cris (Dennis Trillo) at mawawasak ang puso ni Bridget dahil dito.  Makikita nya sa internet ang Camp Sawi, ang lugar na pinupuntahan ng mga broken hearted.  Hahantong siya dito kung saan makikilala at magiging kaibigan nya ang mga katulad nyang sawi sa pag-ibig na sina Jessica (Yassi Pressman), Gwen (Arci Muños), Clarisse (Andi Eigenman), at Joanne (Kim Molina). May kani-kaniyang kuwento ng kabiguan ang mga bagong kaibigan—natuklasan ni Jessica na bakla ang kanyang boyfriend; inayawan at ginawan pa ng break-up song si Gwen ng kanyang boyfriend na kasama nya sa banda;  hindi naman na matiis ni Clarrisee ang pagiging kerida ng karelasyong doktor; at biglaang namatay dahil sa aksidente naman ang nobyo ni Joanne.  Tutulungan sila ni Louie (Sam Milby), ang Camp Master at Chef ng Camp Sawi habang sumasali sila sa programa sa Camp Sawi na magpapagaling sa kanilang mga puso.

Mahusay ang pagkakatahi ng kwento ng Camp Sawi. Mula sa aktwal na paglalahad ng kabiguan ni Bridget ay epektibo ding naihatid ang mga nangyari sa mga kapwa niya sawi sa pamamagitang ng flashback scenes.  Malikhain ang titulo at ang konsepto nito bilang isang lugar na takbuhan ng mga sawi. Medyo nakakainip lang ang ilang eksenang pinahaba katulad ng pagsusuplada ni Bridget kay Louie, mga eksena ng kalasingan ni Gwen, at ang paghuhukay sa buhangin ni Joanne. Mahusay ang mga pagganap, naihatid nila ang mga damdaming sawi lalo na si Padilla. Magaling ang pagkakatalaga ng mga roles sa mga aktor/aktreses ng pelikula. Makahulugan ang mga linya, seryoso man o patawa katulad ng mga sinasabi ng piloto kay Bridget. Maganda ang mga kuha ng camera sa mga tanawin, sa paglalabas ng emosyon at mga detalye ng disenyo ng produksyon. Akma rin ang mga inilapat na tunog, ilaw at musika. Sa kabuuan ay maganda ang mga teknikal na aspeto ng pelikula.  

Palaging dalawa ang mukha ng buhay. Katulad ng tagumpay at kabiguan, at lahat ng tao ay dumadanas ng mga ito. Sa kabiguan, ang mahalaga ay malagpasan ito sa tulong ng tamang proseso upang makapagpatuloy sa buhay na buo muli ang sarili at may pag-asa. Mayroong lugar na pwedeng puntahan kung saan maaring ibuhos ng isang tao ang lahat ng sakit, galit o hinanakit sa mundo. Mayroon ding mga tao na kakilala man o hindi ay handang makinig at makisimpatya sa nararamdaman ng isang taong sawi ng walang pagsasamantala. Bagamat nakatuon sa kasawian sa pag-ibig,  ito pa rin ang pangunahing mensahe ng Camp Sawi.  Gaano man kasakit ang maidulot ng pag-ibig ay hindi dapat maging dahilan ito upang hindi na magmahal ang isang tao. Yon nga lang, dahil exclusive na lugar ang pinakita sa pelikula bilang hide away ay halata na may kamahalan ito at hindi abot ng budget ng isang ordinaryong sawi. Bilang therapy ay medyo mababaw ang mga pinakita sa pelikula. Maraming bulgar na salita sa mga linya ng mga pangunahing tauhan.  Maging ang mga pinagdaanang relasyon ng mga sawi ay tumatalakay sa mga sensitibong isyu ng pre-marital sex, adultery, homosexuality, at arranged marriage.  Madalas din ang mga eksena ng kalasingan bilang paglimot. Bagama’t umayos pa rin sa bandang huli ang mga buhay ng mga dating sawi, kailangan ng hinog na isipan ng manonood upang maunawaan ang mga pinagdaanan at pinagdadaanan ng mga tauhan sa pelikula. 

Don't breathe

Direction: Fede Alvarez; Cast:  Stephen Lang, Jane Levy, Dylan Minnette, Daniel Zovatto;   Story and Screenplay: Fede Alvarez, Rod Sayagues; Producer; Sam Raimi, Robert Tapert, Fede Alvarez; Cinematography: Pedro Luque; Music Roque Baños;    Editing: Eric Beason, Louise Ford, Gardnew Gould; Genre: Horror-Suspense; Distributor: Screen Gems, Stage 6 Films; Location: Detroit, USA Running Time:  88 minutes.
Technical assessment:  3.5 
Moral assessment:  2 
CINEMA rating: V18 
Rocky (Levy) desperately dreams of moving to California with her younger sister to escape her negligent mother. So she convinces her delinquent boyfriend Money (Zovatto) and her friend Alex (Minnette) to keep breaking into the homes secured by Alex’s father until they raise enough funds. Since they only steal items instead of cash, they are usually shortchanged by their buyer. Money gets a tip about an army veteran hiding $300,000 in his house, which is located at the end of a deserted street.   Money is further emboldened to proceed with the plan immediately when they realize that the owner is blind and alone.  But the three soon find out that the blind man is not that helpless, innocent, nor merciful and soon become the prey of their own game.
The success of the Don't breathe lies in the brilliance of its cinematography and performance of Lang. Instead of relying on gore and shock value, director Alvarez drives home the chill and suspense with claustrophobic setting armed with inventive continuous shots and clever use of lights and darkness. The plot and twist cut fresh paths into one’s primal fear—the unknown. Stephen Lang is so effectively menacing yet his character puts the audience in a moral struggle: is he the victim or is he not? Cleverly woven into the main plot are the backstories of the two main characters: the blind man protecting his home and seeking restitution for the wrong done to him, and Rocky trying to escape destruction yet finding her life at risk. This further complicates the moral dilemma the audience faces, thus bringing the horror beyond the cat and mouse suspense. There are a few underdeveloped themes and over-the-top scenes but overall, Alvarez’ attack is intriguing and cohesive.
Don't breathe does not have the usual blood and gore but its inappropriateness for the younger audience stems from the unresolved morality it presents: who is justified for the crimes committed? We feel sorry and sympathetic for what our protagonist and antagonist are going through yet we see how unethical their choices are. And since neither Rocky nor the blind man will be punished, are we saying that they even out each other’s wrong doings? The movie needs a deeper and higher discourse which might be misleading for younger and immature audiences.  

The Secret Life of Pets

DIRECTOR:  Chris Renaud and Yarrow Cheney  LEAD CAST:  Louis C.K., Eric Stonestreet, Kevin Hart, Jenny Slate, Ellie Kemper  SCREENWRITER: Bryan Lynch, Cinco Paul & Ken Daurio  PRODUCER: Chris Meledandri and Janet Healey  EDITOR: Ken Schretzmann  MUSICAL DIRECTOR:  Alexandre Desplat  GENRE: Comedy/Animation  DISTRIBUTOR: Universal Pictures  LOCATION: United States  RUNNING TIME: 90 minutes

Technical assessment:  3

Moral assessment:  3

CINEMA rating:  PG 13

The only regret of Max (voiced by Louis C. K.), a pampered Terrier of New York City career girl Katie (voiced by Elli Kemper), is that Katie’s work keeps her away too long from him.  Left alone in the apartment, Max fills his day by associating with the neighbors’ pets, including the fluffy Pomeranian next door who has a secret crush on him—Gidget (voiced by Jenny Slate).  When their owners are away, these animals amuse themselves in ways known only to them.  Max’s happy-go-lucky days come to an end when Katie brings home from the dog pound the huge and shaggy Duke (voiced by Eric Stonestreet).  Rebuffed by Max, Dukes stops trying to be friendly; soon their rivalry lead them to one comic misadventure after another as they encounter all sorts of mean, wild, and abandoned animals coming out from their hideaways in the city.

The secret life of pets can’t help but remind movie-goers of the delightful Toy Story (1995), which is about what toys do in the absence of their human owners.  The CGI rendering of the New York skyline and landscape—magically colorful by day and aglow with otherworldly lights at night—combined with the almost human characterization of the animals redeem the sketchy and somewhat  inconsequential plot.  In an effort to make the movie live up to its title and please its target audience, directors Renaud and Chenney focus on the clandestine, supposedly exciting exploits of the animals.  Much of the movie shows the pets running away from the clutches of the city’s undomesticated animals while dodging the nets of the pound officers, turning the movie into a protracted chase scene.

While the movie may visually appeal to younger audiences, there are precious messages for adult humans issuing from the mouths of the non-human characters.  For one, it subtly reminds parents how to sensitively deal with an only child when bringing home a new sibling.  It also ought to teach parents to be more present to their children—if pets can become lonely and get into trouble due to separation from their owners, how much more the children left alone at home while parents are out working?  The cooperation among the animals rescuing their missing friends also demonstrates what good teamwork can do.   While The Secret Life of Pets tells a comforting story, parents should not forget that there is such a thing as cartoon violence.  On the day CINEMA watched the movie, a very small child cried inconsolably when a snake opened its mouth to strike a small animal, revealing life-threatening fangs.  She cried so much and so loudly that her father had to take her out of the theater to calm her down, only to be terrified again when another helpless pet’s life was endangered in the chase.  

The BFG

DIRECTOR:  Steven Spielberg  LEAD CAST:  Mark Rylance, Ruby Barnhill, Penelope Wilton, Jermaine Clement, Rebecca Hall, Rafe Spall, Bill Hader  PRODUCER:  Steven Spielberg, Frank Marshall, Sam Mercer  SCREENWRITER:  Melissa Mathison  BASED ON:  The BFG by Roald Dahl  MUSIC:  John Williams  CINEMATOGRAPHY:  Janusz Kamiński  EDITOR:  Michael Kahn  GENRE:  Fantasy Adventure  PRODUCTION COMPANY: Walt Disney Pictures, Amblin Entertainment, Reliance Entertainment,  Walden Media, The Kennedy/Marshall Company  DISTRIBUTOR: Walt Disney Studios, Motion PicturesCOUNTRY:  United States  LANGUAGE: English  RUNNING TIME: 117 minutes

Technical assessment: 3.5

Moral assessment: 3

CINEMA rating: PG13

MTRCB Rating: G

Based on the classic story by Roald Dahl, the film is set in England during 1980s. Sophie (Ruby Barnhill) is an orphan who has trouble sleeping early so she spends most of her nights wandering the halls of the orphanage where she lives. One late night, she spots a giant outside her window, lurking in the streets of London. Trouble begins when the giant sees her too, and kidnaps her. He takes her with him to a place called Giant Country so she won't be able to tell others of his existence. Sophie could be in danger but it turns out that this giant (Mark Rylance) is actually an outcast among his kind. Aside from being the smallest among them, he is the only one who does not eat humans, children in particular. As days pass by, Sophie and the Big Friendly Giant become friends, and so she urges him, helps him make a way to stand up against the other violent giants.

The BFG is a faithful adaptation of the classic written story. With that, the film captures the real charm, heart and soul of the original. The audiences are taken into the world of the unfamiliar— the dark and the hidden world of giants—that seem all real. This is the kind of story that would make one believe the unreal with its realistic rendition of an unknown territory told from the point of view of someone coming from the familiar reality. Spielberg once again showcases his knack for merging the real and unreal and comes up with something that is unbelievably believable. Heartwarming performances by the lead casts, Mark Rylance and Ruby Barnhill complement the stunning visuals. Although there may be parts in the film that feel slow moving to the climax, The BFG is still a delight to watch given the film and the story’s inherent magical charm.

The premise of something considered to be dark and evil but actually good if humans would only have the courage to explore is already worth pondering. Most often, those that do not fall to the perceived standards of good—like mainly physical attributes, visible characteristics, and material descriptions—are already perceived as bad or evil. God made not only light but darkness as well. So darkness is not in itself evil although most people grow up believing it is so. Sophie also thought the same way until she met the gentle giant whose self-appointed work is collecting people’s dreams. And yes, giants can be gentle too. If not for Sophie’s courage, and had she not given the BFG a chance, she would not be able to see the giant’s goodness—and the real evil that surrounds him. Although Sophie is an orphan, at a very young age, she has a clear grasp of love and friendship. The innate goodness of human beings or other beings for that matter lies in the mysterious concept of love that brings about genuine friendship. Such friendship illustrated in the film brought about courage to fight evil. So in the end, love wins, goodness prevails over evil. This is one film that would teach children to love tenderly and befriend others genuinely, that it takes courage to defend what is right, and that courage can be fueled by love and friendship. However, the concept of other world and evil may be still be a little too much for the very young so CINEMA encourages parents to accompany their children 13 years old and below in watching this film.