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Da li je vreme za povlacenje Crippled Avengera?

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Voting closed: 23-02-2004, 18:08:34

Author Topic: The Crippled Corner  (Read 1569602 times)

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crippled_avenger

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Re: The Crippled Corner
« Reply #11550 on: 17-05-2017, 02:32:48 »
Lovecraft bi se ovome radovao. Not.

Jordan Peele will executive produce the new series “Lovecraft Country,” which has been ordered straight-to-series at HBO, Variety has confirmed.

Based on the book of the same name by Matt Ruff, the anthology horror series follows 25-year-old Atticus Black, who joins up with his friend Letitia and his Uncle George to embark on a road trip across 1950s Jim Crow America to find his missing father. They must survive and overcome both the racist terrors of white America and the malevolent spirits that could be ripped from a Lovecraft paperback.

“Underground” co-creator  and showrunner Misha Green will write and executive produce the series, with Peele executive producing through his Monkeypaw Productions banner. J.J. Abrams and Ben Stephenson will also executive produce through Bad Robot, with Warner Bros. Television producing.


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crippled_avenger

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Re: The Crippled Corner
« Reply #11551 on: 17-05-2017, 13:46:18 »
Pogledao sam MINDHORN Seana Foleya, kreativni poduhvat poznatog komičara Juliana Barratta u kome pruža dugomentaržnu verziju svog junaka, ocvalog glumca iz 80s krimi serije koji naravno ne može da se prilagodi tome da ga je vreme pregazilo itd. Dakle, to je stara, dobro potvrđena postavka koja je dostigla jedan od svojih vrhunaca u seriji GRINDER gde je scenaristički i glumački maestralno iskazana višeslojna deluzija jednog televizijskog glumca koji se povlači u rodni kraj po završetku snimanja advokatske serije koja mu je bila smisao života.

Barratt nije ni blizu glumačke ili scenarističke razrade GRINDERa. Njegov projekat je bitno jednostavniji i svodi se na dosta jednostavnu postavku. Glumac dolazi u kraj gde je snimana serija MINDHORN i ima zadatak da pomogne policiji da privede psihopatu koji veruje da je Mindhorn stvarna ličnost.

Tu se dešava serija mahom zabavnih shenaningansa, ali nažalost ni u jednom trenutku ne dolazi do suštinskog prožimanja realnosti, fikcije, glumčeve ličnosti i fiktivnog lika. Sve se svodi na mahom uspešne gegove i na solidan zaplet.

Ne mogu reći da su Barratt i Foley istinski propustili priliku. Uradili su šta su mislili i to je u osnovi dovoljno. Uostalom, GRINDER je serija koja je ukinuta posle jedne sezone i praktično možemo reći da je MIGHTY BOOSH iz koga ova ekipa dolazi mnogo održivija televizijska pojava. Međutim, GRINDER je u ovome postavio standard kome se oni nisu približili i to treba zabeležiti.

* * 1/2 / * * * *
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crippled_avenger

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Re: The Crippled Corner
« Reply #11552 on: 17-05-2017, 20:04:45 »
EXCLUSIVE: Netflix is making its presence felt here in Cannes, but it is simultaneously making deals in Hollywood to expand its feature slate. Netflix has acquired film rights to Hello America, the 1981 sci-fi novel by JG Ballard. Scott Free’s Ridley Scott, Kevin Walsh and Michael Pruss will produce. The novel takes place a century after America’s financial collapse and abandonment by its people, when a group of pioneers return to the ruins of the “New World” on a voyage of rediscovery. The journey through a ravaged wasteland brings hazards at every turn to the crew, culminating in a showdown with a charismatic leader who plans to unleash his nuclear arsenal against anyone who threatens his power perch. This becomes Scott Free’s second deal at Netflix, after it closed a deal for War Party, the Andrew Dominik-directed film that will star Tom Hardy. The Ballard Estate was repped in the deal by Jenne Casarotto of Casarotto, Ramsay & Associates. Scott Free is in production on the Jake Scott-directed The Burning Woman, and the Drake Doremus-directed Zoe, as Ridley Scott preps to direct All The Money in The World.




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crippled_avenger

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Re: The Crippled Corner
« Reply #11553 on: 19-05-2017, 12:15:11 »

‘Okja’ Cannes Review: Netflix’s Giant Pig Movie Is Messy Good Fun
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Once you got past the technical problems and the boos that greeted the Netflix logo, Bong Joon Ho’s film was audacious, frustrating and a real hoot
Steve Pond | May 19, 2017 @ 2:50 AM
Okja   

Cannes Film Festival

A South Korean auteur who spikes his love for genre with a wicked black humor and a fanatical attention to detail, Bong Joon Ho is one of the Cannes Film Festival directors most likely to achieve mainstream success to go with his arthouse accolades. The dual threat led to a packed house at Friday’s early-morning Cannes screening of his new film “Okja” – which, once it got past a rough stretch as the Netflix logo was booed and then technical problems halted the screening, gave the festival a much needed shot of energy, audacity and sheer weirdness.

It also supplied Cannes 2017 with something that had been badly missing in its first two days of programming: good fun.

“Okja” may not be the best movie to screen on the Croisette so far – among the ones I’ve seen, I’d give that designation to Andrey Zvyagintsev’s implacable and devastating “Loveless” – but it is the wackiest and the most entertaining.

Part kid flick, part slapstick adventure comedy, part animal-rights diatribe, it is as playful, uncontainable and messy as its main character, a giant pig who is by turns charming, unruly and touching.

Also Read:
Netflix's 'Okja' Booed at Press Screening in Cannes

Bong’s last film, “Snowpiercer,” was a genre exercise spun sideways, an action movie with a social conscience set on an endlessly speeding train. It was wry and fatalistic and absolutely thrilling, “Speed” meets “Lord of the Flies” meets “Brave New World.” “Okja” has similarities, mostly in the alternative-future setting (though the titles insist this quietly dystopian world is the present) and and the presence of a made-over Tilda Swinton delightfully pulling out all the stops as a very bad person (or two).

If it doesn’t always seem sure of what kind of movie it wants to be, “Okja” is at its heart a love story, albeit one between a little girl and a giant, genetically engineered pig-like creature named Okja.

Okja has been created by the Mirando Corporation, a multinational behemoth with a history of evil dealings that its new CEO, Mirando family scion Lucy Mirando, is trying to obscure by putting on a happy face. (Comparisons to Ivanka Trump, Swinton told TheWrap, are unplanned but not unfair.)

Also Read:
'Okja' Star Tilda Swinton on How Ivanka Trump Inspired Her Role as 'Daughter of a Different Dubious Dynasty'

For years, the big pig has been the best friend of young Mija, played by An Seo Hyun. But when when Okja is shipped to the USA for unknown but likely nefarious purposes that no doubt go deeper than the PR stunt Lucy Mirando is promising, Mija heads out in pursuit. She’s aided by the comically well-meaning Animal Liberation Front, who tell stage raids only after telling their victims that they’re  nonviolent, and who fight using what they insist (in mid combat) are non-lethal chokeholds.

The members of ALF include a delightfully earnest Paul Dano – but their comic escapades, and even Swinton’s delicious scenery-chewing, are overshadowed by Jake Gyllenhaal’s insane performance as Dr. Johnny Wilcox, the host of an animal show with declining ratings. In short-shorts and bad hair, he plays Dr. Johnny as part Crocodile Hunter, part Richard Simmons (in his prime) – he’s way over the top, which is exactly where the famously exacting Bong wants him to be.

“Okja” is a kids’ story that ends in a slaughterhouse, a comedy that gets very serious. It’s messy and alive, frustrating and fun in a way that few other films at this festival will likely be.

And by the way: Once the technical problems were fixed, it looked great on a big screen. It may have taken Netflix to get this thing made, but theaters are where it belongs.
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Meho Krljic

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Re: The Crippled Corner
« Reply #11554 on: 20-05-2017, 05:24:42 »
Tom Hardy to star as Venom in coup for Sony's resurgent Spider-Man franchise 
 

    Oscar nominee Tom Hardy will portray the comic book anti-hero Venom in Sony's first-ever feature-length "Spider-Man" spin-off, the studio announced on Friday.
The casting comes at a critical time for the studio's franchise based on the Marvel Comics' flagship wall-crawler. After its first reboot of the series foundered, Sony Pictures cut a deal in 2015 to merge Spider-Man with Marvel Studios' massively popular cinematic universe that features the Avengers and Guardians of the Galaxy.
In casting Hardy as the long-time Spider-Man rival, Sony has secured a critically acclaimed actor to play a dark, multi-layered fan-favorite. The character derives his powers — and his villainous streak — from a living, symbiotic alien that takes the form of a black costume, imbuing its host with abilities similar to Spider-Man's.
 
 >@SonyPictures: Tom Hardy is Eddie Brock in # Venom, the upcoming film from Sony's Marvel Universe releasing October 5, 2018 – production starts this fall.

"I don't think there's anybody out there who can play this character so perfectly and so brilliantly," said Paul Dergarabedian, senior media analyst at comScore.
While Hardy often plays intense characters, he has remarkable range, he said.
This will not be Hardy's first turn as a comic book villain. He played the terrorist Bane in "The Dark Knight Rises," the 2012 finale to Christopher Nolan's acclaimed Batman trilogy.
Venom first showed up on the silver screen in 2007 in "Spider-Man 3." The portrayal by "That 70s Show" star Topher Grace is widely regarded as one of the weakest parts of the original Spidey trilogy.
News that Hardy would portray Venom quickly became a trending topic on Twitter, adding to the social media wind at Sony's back. In April, the latest trailer for its upcoming "Spider-Man: Homecoming" generated massive buzz.
"With several moves they can turn this around," Dergarabedian said. "If the Sony-based Marvel universe starts casting actors and actresses of this caliber and on this level and with this kind of reputation, you are literally building on the backs of these actors and actresses a really strong foundation."
Production for "Venom" begins this fall. The film is slated to premiere in October 2018. The studio is in final negotiations with "Zombieland" director Ruben Fleischer to helm the film, according to The Hollywood Reporter. 

crippled_avenger

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Re: The Crippled Corner
« Reply #11555 on: 20-05-2017, 13:12:33 »
Last year filmmaker Doug Liman swapped one long in development superhero project for another – ditching Fox’s “X-Men” spin-off “Gambit” in favour of Warner Brothers’ supernatural ensemble piece “Justice League Dark”.

The DC Comics adaptation doesn’t have a release date yet, but work on the project is reportedly set to get underway sooner rather than later, in fact sometime in the next few weeks it would seem.

In a new interview with Cinema Blend, Liman shared his take on the movie and why he’s focusing on these characters:

    “I think people will be surprised how character driven and how intimate Justice League Dark is — in kind of a field of bloated comic book movies. We’ve found a way to do something that’s actually really personal and small, and that’s my goal.

    The Wall is about character. The scenario allows me to dive into what I think is… I just love people! I love putting people in crazy situations. For John Constantine, we have an amazing set-up for him for Justice League Dark that’s really human.

    It’s going to have real horror elements, for sure. I love early horror films, be it The Exorcist, or Carrie, The Omen. In the same way that Bourne Identity, I went back to ’70s paranoia.

    There’s stuff to be mined from the people who have come before me that I’m planning to bring to Justice League Dark. And also the arena, my good friend Simon Kinberg, with Deadpool really pushed the arena.

    I’m never going to do something that’s straightforward, but I’m not going to do something campy either. I have a take on it that isn’t like anything else out there. At the end of the day, I make character driven movies.”

The story reportedly begins with a series of ancient tomes being stolen by a madman hell-bent on humanity’s end. Due to this, occult detective John Constantine seeks out a group of heroes that specialize in the mystic and arcane in order to save the world including Swamp Thing, Deadman, Zatanna, Etrigan the Demon and potentially Madama Xanadu. Michael Gilio is writing the script for the project which Scott Rudin producing.
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crippled_avenger

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Re: The Crippled Corner
« Reply #11556 on: 20-05-2017, 13:36:22 »
First social media reactions to a movie, especially from either film festival crowds or from people attending press junkets, are always to be taken with caution. Said reactions can, and often do, go overboard in spouting praise much of the time, or condemning failure at others.

We saw it earlier today as social media reaction for Todd Haynes’ “Wonderstruck” at Cannes was spouting Oscar talk, whereas actual reviews, though still very positive, were more measured in their enthusiasm.

That said, it’s hard not to get excited about the social media reaction towards Patty Jenkins’ “Wonder Woman” which has been extremely positive across the board. Even early reactions to James Gunn’s “Guardians of the Galaxy Vol. 2,” though many were full of praise, had a sizable contingent of reviewers who had some big issues and weren’t so enamoured with it.

There’s no such caution or divide here, the praise from the first critics to have seen it is coming from all corners and even the biggest criticisms have been only that it’s ‘a little rough’ towards the start and end – and those who’ve mentioned that say it doesn’t detract from the overall film.

Ladies and gentlemen, we have a winner. Here’s some of the reactions thus far:

    “Loved WONDER WOMAN. She reminds me of Christopher Reeve’s Superman: true north superhero w/ no angst or cynicism, which is needed right now.” – Mike Ryan, Uproxx

    “Happy – no, RELIEVED – to report that #WonderWoman is truly good. Funny, stirring, kick-ass, romantic. A solid, entertaining superhero film.” – Adam B. Vary, Buzzfeed

    “WONDER WOMAN: Easily my favorite DCEU film. Has the humor and heart the franchise so desperately needs. Gadot and Pine are charming as hell.” – Kate Erbland, Indiewire

    “Very pleased to report that #WonderWoman is the best DC movie since THE DARK KNIGHT. I’m already looking forward to seeing it again.” – Silas Lesnick, Coming Soon

    “I loved Wonder Woman. First act’s a bit slow, but it’s optimistic, emotional, and ‘gasp’ funny. Best DC movie so far.” – Dave Schilling, Bloody Disgusting

    “Wonder Woman is the easily the best DCEU movie so far. It’s got heart and a love of heroes. Pine and Gadot are charming beyond measure.” – Haleigh Foutch, Collider

    “Wonder Woman is solid. Definitely a step up from the last few DC movies. Its retro war vibe makes it feel like their Captain America.” – Dave Kevlar, Yahoo

    “Happy to report ‘Wonder Woman’ is a blast and @GalGadot is fantastic. Her chemistry with Chris Pine is magnetic. Absolutely recommended. Best part of ‘Wonder Woman’ is the film has really funny parts and an optimistic and heroic protagonist. Great step forward for DC Films.” – Steve Weintraub, Collider

    “WONDER WOMAN is great. My favorite of the recent DC movies. It’s fierce, funny, well-written and badass. @GalGadot owns it. Her lasso FTW” – Erik Davis, Fandango

    “I’m now allowed to reveal I enjoyed Wonder Woman! It’s really good. Has the heart & humanity DCEU needed. I’m not reviewing it FYI” – Jim Vejvoda, IGN

    “Wonder Woman is everything you want in a #WonderWoman movie & more. It’s the film even DCU critics will love.” – Mark Hughes, Forbes

    “I’m finally allowed to say it: I loved #WonderWoman! I teared up watching her fight. The Amazons kick ass!” – Jenna Busch, Legion of Leia

    “Wonder Woman is a flawless superhero movie. Loved every second of it. Amazing work, @PattyJenks!” – Jason Guerrasio, Business Insider

    “The most wonderful thing about WONDER WOMAN is the wonderful Wonder Woman. Gal IS Wonder Woman. Now then, about WONDER WOMAN.” – Josh L. Dickey, Mashable

    “Wonder Woman is the best DCEU film so far. The heart of Gal Gadot’s Diana powers it, and the shift from mythic into WWI story really works. Chris Pine as Steve Trevor is also my favorite Chris Pine performance. #WonderWoman.” – Eric Eisenberg, Cinema Blend

    “DC is absolutely on the right track here. Gal Godot is absolutely phenomenal as #WonderWoman. She KILLS it, just surprisingly good. A truly heroic light DCEU desperately needs. Rough parts? Sure. But guys, guys, YOU GUYS! You’ll truly LAUGH. And you’ll walk out, for once, feeling downright inspired by a DC movie.” – Alisha Grauso, Movie Pilot

    “Wonder Woman is the DC movie I’ve been waiting for. It’s exciting, inspiring, funny, and has some truly awe-inspiring action scenes. There are certainly some issues, like a mismatched 3rd act, but I’ll discuss that in a longer review. Overall though, Wonder Woman rules.” – Germain Lussier, io9

“Wonder Woman” opens in cinemas on June 2nd.
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crippled_avenger

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Re: The Crippled Corner
« Reply #11557 on: 20-05-2017, 14:58:41 »
Blake Lively has joined the cast of “The Notebook” director Nick Cassavetes’ mixed martial arts action-drama “Bruised” at Thunder Road Pictures.

Lively will play Jackie, a single mother working two jobs and a disgraced MMA fighter who has been up against the ropes her entire life.

When the authorities threaten to take her son away from her, she must get back in the cage for one last chance to fight for redemption.

Michelle Rosenfarb penned the script while Basil Iwanyk, Linda Gottlieb and Guymon Casady will produce. Filming aims to begin in September.
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crippled_avenger

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Re: The Crippled Corner
« Reply #11558 on: 20-05-2017, 15:09:16 »
“Suicide Squad” and “End of Watch” director David Ayer is set to replace Antoine Fuqua as director on the “Scarface” remake at Universal Pictures.

Ayer penned the script for Fuqua’s breakout film “Training Day,” so the hiring is a welcome one. Fuqua had to depart due to a scheduling conflict with “The Equalizer” sequel.

He beats both “Hell or High Water” filmmaker David Mackenzie and “Patriots Day” helmer Pete Berg who were linked to the project earlier this year.

Joel and Ethan Coen were the most recent scribes to do a polish on the script for this incarnation of the story which focuses on a Latino gangster in contemporary Los Angeles.

Diego Luna has been attached to play the title gangster, with Ayer’s hiring it’s unclear if that will remain the case. Ayer’s fantasy film “Bright” starring Will Smith is slated to hit the service in December.

The new “Scarface” opens August 10th next year.
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crippled_avenger

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Re: The Crippled Corner
« Reply #11559 on: 20-05-2017, 15:52:17 »
ALIEN: COVENANT je novo teturanje Ridleya Scotta kroz "univerzum" Osmog putnika, jedan glomazan, besmislen spoj potpunog pulpa i nepotkrepljene pretenzije u kome nažalost, Scott kao pokušava da se nadoveže na svoj izvornik a zapravo ga izneverava na svakom koraku. Naravno, nije ALIEN neko sveto pismo pa da je preveliki greh izneveravati ga, davnih dana je taj serijal žestoko prostituisan, međutim način na koji mu Scott prilazi, od PROMETHEUSa do danas deluje gotovo perverzno.

Naime, Scott pokušava da snimi filmove koji će nam pokazati šta se desilo "pre" onoga što smo videli u ALIENu i sada možemo ozbiljno postaviti pitanje šta je smisao te eskapade. I PROMETHEUS i COVENANT su filmovi koji nas upoznaju sa nečim što nam je u prvim filmovima bilo misteriozno i baš zato zanimljivo. Sada on to demistifikuje i to na način koji je uvredljivo glup, i još uvredljivije pretenciozan.

Ne samo da je Daniel Espinosa u filmu LIFE snimio najbolji ALIEN film ove godine, već je taj po mnogo čemu klišetiziran predložak prava raznica filozoske intrige i dramaturške lucidnosti u odnosu na COVENANT. Otud je velika nepravda kad se suočimo sa situacijom da je LIFE olako otpisan kao "dobra zabava" a COVENANTu se prilazi strplčjivo i oprezno, ne bi li se kao videlo šta veliki genije misli.

A Ridley očigledno već odavno ne misli ništa. Njegov film bi u najboljem slučaju mogao biti nekakva denikenovska papazjanija ali je nejasno kome se obraća jer oni koje baš zanima šta se zbiva sa Alienom odavno nisu mali, a kako je film stekao status remek-dela i dobio legtimitet klasika, ti ljudi nisu ni glupi, i ovo što im Ridley pruža je ispod vsakog nivoa.

Sa rediteljskim postupkom koji kombinuje teatralnost PROMETHEUSa, sa sve space opera svemirskim brodom u kome postoji gravitacija, stupidnim silaskom na planetu u kome junaci izađu u običnoj odeći napolje jer planeta je naseljiva pa kao jel, nema nekih rizika, a onda kada ih napadnu spore smrtonosnog patogena, i dalje su skloni tome da se zapiraju na potoku; zatim pretencioznu vagnerijansku dimenziju stvaranja i uništenja sveta; a sve to dato u maniru RTSove emisije o kulturi gde ćemo klasu i intekekt simulirati time što junaci govore o klasičnoj umetnosti i stoje pored vaze. Na kraju, kada u filmu neumitno nešto mora da se desi, Ridley sve rešava kroz dva sub-cameronovska set-piecea/citata ALIENSa, ali ni tu stvar ne oživi onoliko koliko bi trebalo jer Ridley nema snage da tako nešto uradi na nivou na kom bi mogli Cameron ili Blomkamp.

Za to vreme, film nema nikakvu koheziju, raslojen je na peripatetisanje androida koji maštaju o nastanku sveta, neke stupidne shenaniganse sa alienima tipa "slobodno pipni jaje, neće ništa da se desi", i gomilanje nekih raznih likova koje je maltene nemoguće identifikovati. Naravno, pošto ništa od ovoga nema naročite veze jedno s drugim, film je strukturiran kao salata u kojoj na po petnaest-dvadeset minuta junake potpuno gubimo iz vida i zaboravljamo, da bismo im se vratili.

Životni ciklus Aliena sada više apsolutno nije jasan. Šta se kad dešava, kako se taj proces odvija, to više ni policija ne može da utvrdi.

U filmu je sve urađeno na nekom produkcionom nivou mada, ruku na srce, očekivao sam neke zanimljivije lokacije u pogledu planete na koju ekipa sleće jer planeta na koju su sleteli jako liči na Zemlju, a pritom nema PLANET OF THE APES tvista, i realno, trećinu filma se jure sa alienima po kukuruzištu što nije baš najzunimljivija stvar.

Na kraju, zapravo, film pada pod idejom toga da COVENANT nosi veliki narativ koji prethodi ALIENu i ta grandomanska ideja kako postoji velika PRIČA koju treba prikazati na kraju guši i likove pa i same aliene. Jer u osnovi, COVENANT nije film o alienima kao pretnji, nije ni o likovima, ni o tome kako u svemiru nema ko da te čuje kada vrištiš. Ovo je film o androidu kog igra Michael Fassbender i o tome kako on želi da istrebi čovečanstvo, uz pomoć aliena kojih je inače u filmu zapravo vrlo malo. Ali na kraju ovo nije film ni o čemu jer je primarna ideja da se nekako dopuni ta "velika priča" koja prethodi "svemu", a ona je svakako najslabija karika i najmanje zanimljiv element ovog serijala.

Za razliku od pomenutog LIFEa u kome junaci znaju da postoji film ALIEN i imaju zdrav rezon o tome kako tretirati vanzemaljce pa opet naprave greške, ovde imamo autora koji kao da je zaboravio vlasiti film i šta je u njemu dobro, praveći likove i situacije koji funkcnionišu samo pod uslovom da se svi zajedno ponašaju kao potpuni moroni i da publika iz nekog razloga to prihvati. Međutim, mislim da to 2017. nije prihvatljivo. Što ne znači da i sam nisam otišao i pomogao box office rezultatu ovog filma, na samom otvaranju.

* 1/2 / * * * *
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Meho Krljic

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Re: The Crippled Corner
« Reply #11560 on: 20-05-2017, 16:12:28 »
Joj, ubiću se. Planirao sam da ovo sutra pogledam al sad se unapred sekiram.  :cry: :cry:

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Re: The Crippled Corner
« Reply #11561 on: 20-05-2017, 16:14:56 »
idi na SILU PRIVLAČNOSTI...


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Re: The Crippled Corner
« Reply #11562 on: 20-05-2017, 23:51:38 »
FOLK HERO & FUNNY GUY Jeffa Gracea je vrlo solidna niskobudžetna, svedena indie komedija, sa jakim melodramskim tonovima u kojoj glavne uloge igraju Wyatt Russell i Alex Karpovsky. Wyatt Russell je sina Kurta Russella i ima dosta očeve harizme, a Karpovskog znamo iz GIRLSa i mase dosta skromnih indie ostvarenja.

Njih dvojica u ovom filmu uspevaju da naprave jako dobru saradnju kao dvojica najboljih prijatelja na turneju. Wyatt Russell igra country rock poluzvezdu koja je blago nesvesna realnosti, a Karpovsky igra stand up komičara koji je pak prviše svestan i vrlo pesimističan. Njih dvojica čine odličan par i dobro se dopunjuju zbog u suštini različitih energija i pristupa glumi.

Ako imamo u vidu vrlo visoku voltažu njihovog partnerstva, ono što je jako efektno u filmu jeste relativno low key ljubavni trougao koji se u jednom trenutku formira.

Jeff Grace nije vrhunski stilista, ali svakako nudi jedan jednostavan i efektan rediteljski postupak u kome fino plasira glumce i karaktere u prvi plan.

FOLK HERO & FUNNY GUY je stoga jako uspeo primerak one vrtste filma koja je jako prisutna u američkoj indie produkciji ali retko daje zaista kvalitetne naslove.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11563 on: 21-05-2017, 21:15:33 »
KILL SWITCH Tima Smita je holandsko-nemački SF akcijaš koji headlinuje Dan Stevens. U ovom trenutku, Dan Stevens je glumac najgledanijeg filma godine i vrlo je luksuzno imati SF film sa njim u glavnoj ulozi, naročito ako imamo u vidu da je njegova reputacija u žanru vrlo visoka, počev od THE GUESTa preko serije LEGION pa do filma COLOSSAL. Tim Smit je holandski majstor za specijalne efekte čiji je put do prvog filma pravi žanrovski success story. Snimio je kratki film koji je stavio na YouTube i to mu je bio showcase za nastanak domišljatog KILL SWITCHa koji se pojavljuje i pod naslovom REDIVIDER.

Naime, domišljatost je pre svega u tome što Dan Stevens igra glavnog junaka bez kog nema nijedne scene u filmu ali je zapravo imao manji broj snimajućih dana jer znatni deo priče izložen je u formi subjektivnih kadrovao, kao u filmu HARDCORE HENRY. I zbilja, u poređenju sa HARDCORE HENRYjem, KILL SWITCH nije tako dosledan u postavci jer nisu sve scene date u subjektivcu, dakle Dan Stevens ima actual screentime, i sama akcija nije toliko barokna, ali opet poređenja su neumitna. Sve ono što je delu publike bilo odbojno u HARDCORE HENRYju važiće i ovde ali dobra vest je da - kome nije bilo odbojno, biće im sasvim prijatno.

Ostatak glumačke ekipe nije sasvim lišen imena, recimo tu je Berenice Marlohe, francuska glumica koja je nastupala u holivudskim hitovima, ali Tim Smit očigledno zna da je "ljudski faktor" najsoetljiviji segment filmmejkinga i zato je opustelost gradova i postapokaliptični posmrtni ambijent ono na čemu naročito insistira.

Premisa je izrazito hard SF za film koji ima jaku akcionu dimenziju i bazira se na putovanju između dve paralelne dimenzije koje se odvbija radi eksploatacije energije ali se potom pretvara ui potencijalni apokaliptični ishod.

Dan Stevens igra neustrašivog fizičara i astronauta koji iz našeg sveta treba da otputuje u paralelni i kada u taj svet stigne gledamo sve kao njegov POV. ta konvencija se vrlo brzo usvaja, a Tim Smit sve smešta u vrlo atraktivno i veštu izvedenu viziju bliske budućnosti, recimo na liniji Limanovog EDGE OF TOMORROW.

Jasno je da je Smitu CGI ključno oružje i naravno ima ga dosta ali to sve ne bi funkcionisalo bez vrlo ozbiljnog kadriranja, odabira lokacija i rada sa glumcima. Uprkos tome što CGIa ima dosta kvantitativno, Smit nema ni približno holivudski budžet tako da jako mnogo efektnosti crpi iz načina na koji ga smešta u prvi i drugi plan i izmešta ga iz uobičajenih konteksta. KILL SWITCH nije skup film ali evidentno je poverenje u Tima Smita i on zaista uspeva da na njega uzvrati.

Ne znam da li je i u kojoj postavci KILL SWITCH mogao biti bioskopski film ali ja bih ga na velikom ekranu svakako gledao. Međutim, ono što je evidentno jeste da je Stevens u međuvremenu postao toliko veliko ime da ovakav film sada pre dobija tretman "greha iz mladosti" nego nečega što bi moglo da iskoristi njegov uspon.

U svakom slučaju, oni koji odluče da gledaju film samo zbog Stevensa, iako njegov top billing jeste trik, sasvim sigurno neće biti prevareni. Nadam se isto tako da će Tim Smit dobiti još neku priliku da radi jer KILL SWITCH zaista ima jako puno B-filmske lucidnosti a ona zaslužuje da bude nagrađena.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11564 on: 23-05-2017, 00:57:17 »
According to The Hollywood Reporter, director Zack Snyder has announced that he’s stepping down from the Justice League movie so he can spend time with his family in the wake of his 20-year-old daughter Autumn’s suicide in March. Snyder told The Hollywood Reporter that he was initially eager to get back to work, thinking that it would be “a cathartic thing” to just put everything he had into finishing the movie so he could “see if that was a way through it,” but over the last two months he realized that he had to “take a step back” and spend time with his family instead.

Warner Bros. is “fully behind” his decision, with THR noting that the studio initially offered to simply push back the film’s release date until Snyder was ready, but he and his wife—producer Deborah Snyder—didn’t want to do that. Instead, Avengers director Joss Whedon is stepping in to complete Snyder’s post-production work and film some extra footage. Whedon had come on board to write additional scenes that Snyder wanted to add after editing together a rough cut of the movie, but when it came time to film those scenes in England, Snyder couldn’t bring himself to leave home. Whedon is directing those new scenes, but Warner Bros. Pictures president Toby Emmerich explains that “the directing is minimal” and that it will “adhere to the style and tone and the template” that Snyder set with the rest of the movie.




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Meho Krljic

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Re: The Crippled Corner
« Reply #11565 on: 23-05-2017, 07:37:27 »
I can't even...  :shock: :shock: :shock: :shock:

Snyder započeo, Whedon dovršio... To će biti... ne znam, ne umem da se snađem uopšte, kao da se dva univerzuma sudaraju usred mog mozga.

lilit

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Re: The Crippled Corner
« Reply #11566 on: 24-05-2017, 07:42:11 »
Joj, ubiću se. Planirao sam da ovo sutra pogledam al sad se unapred sekiram.  :cry: :cry:

I got it! Humans in #Prometheus and #AlienCovenant explained: it's a shared universe with Idiocracy!  :cry:
Frka mi sad od BR, sa zebnjom ga čekam kad krene november rain  :cry:  :lol:
Some things you have to do yourself.

Meho Krljic

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Re: The Crippled Corner
« Reply #11567 on: 24-05-2017, 09:08:49 »

crippled_avenger

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Re: The Crippled Corner
« Reply #11568 on: 24-05-2017, 09:54:59 »
Dokumentarac o George Lazenbyju BECOMING BOND osvojio je nagradu publike u programu “Visions” na festivalu SXSW. Nesumnjivo je reč o crowd pleaseru, i o zanimljivoj formi igrano-dokumentarnog filma, sa dosta veštom realizacijom, ali nažalost čini mi se da publika nije imala previsoke kriterijume kada je dodeljivala ovu nagradu.

BECOMING BOND je ispovest Georgea Lazenbyja, bez ikakvog kritičkog otklona u odnosu na ono što on priča, i bez ikakvog pokušaja da se stupi u komunikaciju sa drugim svedocima događaja, te stoga ovaj igrano-dokumentarni film u suštini i nije neki naročiti dokument već više beleška jedne subjektivne ispovesti. Igrane rekonstrukcije se date komično, sa idejom da podvuku njegov već dosta nadahnut i zbilja duhovit način izlaganja, i stilski imaju mnogo više veze sa komedijama poput PILLOW TALKa nego sa Bondom iz te epohe.

Reditelj Josh Greenbaum je uspeo da izvuče maksimum iz Lazenbyja kao pripovedača i da celu stvar sa rekonstrukcijama načini vrlo efektnom. Zbilja trenutni efekat u tim rekonstrukcijama mu nikada ne izmiče. Međutim, na kraju, ovaj film ipak ostaje nedorečen.

Naime, tema BECOMING BOND data u naslovu zapravo nije tema ovog filma jer je cela poenta u tome da Lazenbyju Bond ni u jednom trenutku nije bio ključna stvar. Film prati njegovu nesumnjivo zanimljivu životnu priču, ali onda negde posle odluke da odbije dalji rad na Bondovima i staje. Stoga, mi ne vidimo da li je ta odluka i na koji način promenila njegov život.

Na kraju, BECOMING BOND se prodaje na bazi toga što je Lazenby bio Bond, ali fanovima agenta 007 nudi manje od onoga što se o njegovom radu i potonjim odlukama zna, a nažalost ta primarna priča o velikoj ljubavi koju je poluneobjašnjivo uspeo da uništi, nekako na kraju ostaje bez poente.

BECOMING BOND je na kraju samo dopadljivo gledalačko iskustvo što nije mala stvar ali supstanca mu je izmakla i o slučaju Lazenby još nije rečena zadnja reč. Ovaj film na to nije ni pretendovao, ali nije do kraja jasno na šta jeste i da li je to na šta jeste bilo vredno evidentnog truda.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11569 on: 26-05-2017, 14:43:55 »
Pogledao sam THE CIRCLE Jamesa Ponsoldta. Baziran na romanu Davea Eggersa, ovaj film je imao prostor da unapredi prozu zanimljive premise i limitirane egzekucije. Nažalost, rekao bih da je Ponsoldt propzustio jednu od retkih prilika da se roman popravi i učini sadržajnijim kroz film. Štaviše, rekao bih da je upravo u pogledu dramaturgije, Ponsoldt čak pokazao i manju zrelost od Eggersovog romana.

Naime, Eggersov roman se bavi opasnostima frictionless kapitalizma i imperativa prožimanja socijalnih mreža, piosla i razonode, gde se gubi granica između ličnog i profesionalnog javnog i privatnog i stvara neka nova forma društvenog uređenja. Dok je kod Eggersa u romanu dosta dobro izgrađena aura te impresivne naslovne firme i data je fetišistička slika frictionless kapitalizma, da bi se potom razvio zaplet i ishodište koji nisu na nivou, ovde se od starta publici sugeriše kako nešto nije u redu sa tom firmom. Potom, isto tako, neki mistifikovani junaci iz romana koji su bili previše isprazni za prozu ali su nudili prostor za vizuelnu nadogradnju u filmu, ovde bivaju potpuno ispušteni, da bi konačno svaka tehnika pravljenja drame ustupila mesto izgradnji jedne relativno jednostavne i slabo uverljive situacije u završnici filma.

Emma Watson, Karen Gillan, Tom Hanks i ostali, čine vrlo potentnu glumačku podelu. Međutim, oni su nažalost svedeni na ulogu žiove scenografije u ovom inače vrlo lepo dizajniranom filmu za koji se zaista može reći da je "zgodan" u pogledu toga kako je tehnički ostvaren. Međutim, u svemu ovome naprosto nema drame i to je krivica scenarija koji ne otvara mogučćnosti za adekvatnu razradu likova i njihovih dilema, ali pre svega pored krajnje oskudne strukture, kao drugi problem nameće se i to što su sve karte na stolu od prvog sekunda filma.

Otud na kraju THE CIRCLE deluje kao neka paranoična priča koja polazi od preptpostavke da je protivnik potpuno jasno iskazao svoje zle namere, a smisao priče je upravo u toj podmuklosti i tom nedostatku frikcija koji proizvodi zavodljivi šarm korporacija tog tipa.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11570 on: 26-05-2017, 14:54:02 »
Pogledao sam FREE FIRE Bena Wheatleya, novu žanrovsku egzibibiciju britanskog hiperpropduktivca. Taman kada sam uživao u njegovoj ekranizaciji Ballarda koja je, ako ništa drugo, barem ponudila jedno otelotvorenje imaginarijuma ovog velikog romana, FREE FIRE je bedan posttarantinovski pokušpaj da se napravi barvurozni kamerni krimić.

Zaplet je jednostavan. Trgovina oružjem polazi naopako u jednom putoim skladištu i posle pola sata ekspozicije, kreće sat vremena puškaranja u kome nit je pucnjava naročito vešto urađena i koreografisana, niti su humoristički detalji naročito efektni. FREE FIRE nažalost ostaje jedno veliko ništa u kome poneki glumac, pre svih Armie hammer pokazuje da bi mogao biti zvezda nekog "pravog", dobrog filma, ovog žanra, ali i nekog drugog, i da je ovo jedna od onih mea culpi koje mora da izgovori ne bi li iznova počeo da dobija "prave" uloge posle nekoliko promašaja.

Doduše, ima u ovom filmu i glumaca poput Brie Larson koje nijedna muka nije naterala da se tu pojave. Ima tu svega i svačega, jedino nema dobrog filma, iako su naizgled godardovski uslovi u pogledu žene i pištolja definitivno ispunjeni.

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lilit

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Re: The Crippled Corner
« Reply #11571 on: 26-05-2017, 17:29:54 »
Al zato Spajdi:


da, da, čeka se spajdi, a čeka se i wonder woman.
a i ja konačno vidim izlaz na kraju tunela stižem do onog što zovemo: I survived!  nas-rofl :lol:
Some things you have to do yourself.

crippled_avenger

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Re: The Crippled Corner
« Reply #11572 on: 27-05-2017, 12:54:26 »
Pogledao sam EL BAR Alexa De la Iglesije. Od LA COMMUNIDADa ovaj reditelj je samo bleda senka ono što je bio do tog filma. Od pomenutog remek-dela, nažalost krenuo je nizbrdo iako ne možemo reći da je mnogo odstupao od formule koja ga je proslavila. Štaviše, rekao bih da je De La Iglesia sve to vreme bio u stanju permanentnog kambeka koji mu je izmicao.

EL BAR se u tom smislu možda može izdvojiti kao njegov ponajbolji post-LA COMMUNIDAD film. Za početak, ovaj film ima barem jedan urnebesni set piece, i barem jedan urnebesni dijalog. I ima dosta dobrih scena između. Hawks bi rekao da je to na putu da bude dovoljno za dobar film.

De La Iglesia ovog puta pravi kamerni film, suspense komediju o grupi ljudi zatočenih u madridskom snack baru koji ne shvataju o čemu je reč da bi ubrzo skopčali da se nalaze u situaciji koja bi mogla imati apokaliptične razmere.

De La Iglesia voli glumce i u želji da ima što više zanimljivih stripovskih faca u ovom filmu možda ima kudikamo koji lik viška. Međutim, na kraju svakome uspeva da nađe funkciju. U vizuelnom pogledu takođe možemo reći da je maksimalno angažovan i da se trudi da maksimalno dinamizuje sve ono što njegovu priču čini kamernom. I u tom pogledu, iako EL BAR nije masterclass prevazilaženja klaustrofobije kao TALK RADIO Olivera Stonea, jeste film kome samonametnuta ograničenja ne smetaju i ne čine ga monotonim.

Ono što u određenom smislu utiče na izvesnu limitiranost atraktivnosti filma jeste premisa sa grupom ljudi zatvorenih u baru gde De La Iglesia samo deklarativno uspeva da "pokrije" opšta mesta ali se onda istim tim rešenjima potom obilato služi. Otud, možemo reći da su De la Iglesia i Guerricaechevarria više svesni koliko je njihova premisa u osnovi potrošena nego što su spremni da to prevaziđu.

No, obrni-okreni, EL BAR je film koji funkcioniše i koji podseća na De la Iglesiju, ali nikada ga baš nećemo ubrojati u njegov kanon.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11573 on: 28-05-2017, 12:41:42 »
A CURE FOR WELLNESS je film koji je doneo katastrofalan gubitak New Regencyju i Foxu ali sigurno je da su oni uvereni kako je vredeo svakog centa. Naime, sada kad god neko ima primedbe na mešanje studija u rad autora, oni mogu da pokažu ovaj film i kažu "evo šta ste dešava kad autori imaju punu nesputanu slobodu".

A CURE FOR WELLNESS je toliki trainwreck da bih rekao kako Fox nije čak tražio ni da se skrati na neko razumno trajanje sa svojih apsurdnih 146 minuta jer su shvatili da mu nema spasa, što na kraju možda čak i nije bilo fer prema Verbinskom jer ovaj film je mogao da stekne kudikamo više pohvala da pored svih svojih gluposti barem nije i nepodnošljivo dugačak.

Kako je do svega ovoga došlo, teško je reći, ali smrdi mi da je sve ovo nusprodukt odlaganja PYONGYANGa, filma koji je Verbinski trebalo da snima sa Steve Carrellom (jednim delom i u Srbiji) i da je on unovčio moralni highground koji mu je iznenada dopao kada je Fox u strahu od Kima otkazao taj projekat. Prosto je neverovatno da Fox pri zdravoj pameti da 40 miliona dolaza za film po ovom scenariju, sa ovom glumačkom podelom i da očekuje nekakvu gledanost.

A CURE FOR WELLNESS spada u novu etsetiku tzv. Cinemageddon filmova, gde autori poput Refna ili sada Verbinskog pokzušavaju da uneku vrstu mejnstrima uvedu stileme italo i onog horora i shock cineme. Refn to pokušava da uradi sa festivalskim formatom u NEON DEMONu a Verbinski to pokušava da napravi sa holivudskim filmom. Kakav je to "holivudski" film Verbinski želeo da snimi, teško je razumeti, ali moguće da je hteo da se izrazi u onim formatima koji su u prošlosti bili dostupni Cronenbergu.

No, Cronenberg je ipak jedan od najvećih sineasta svih vremena a Verbinski je obrni-okreni ipak umišljeni reditelj reklama sa grižom savesti koju je u nekoliko navrata pokušavao da leči indie izletima u pauzama beskrajnih nastavaka PIRATESa.

A CURE FOR WELLNESS stoga jedino možemo objasniti pokušajem da se snimi prestige picture, baziran na premisi koju bi verovatno Fulci još smatrao osnovom za prestige picture, a rezultat je jedna salata scena od kojih poneka funkcioniše kao set-piece, a neke i ne baš. Dramski materijal koji povezuje sve te scene je uvredljivo slab i pokazuje kako se na kraju krajeva film ne može bazirati samo na pokušajima set-pieceova, ako između njih nema neki smislen narativ, ili ako barem nije potpuno lišen pokušaja da se gradi neka priča. A CURE FOR WELLNESS nije AMER pa da se slobodno udari briga na veselje, a nije ni SAINT ANGE pa da se nađe balans između horor invencije i priče koja nije nužno u prvom planu.

Verbinski želi da ima sve u prvom planu i rezultat je poražavajući. Kada se tome dodaju neka "umetnička iskliznuća" poput 80s throwback posete "nemačkoj" krčmi u podnožju švajcarskog sanatorijuma koja deluje kao italo omaž lože prepirčanoj sceni iz Fassbinderovog filma, i koja je školski primer scene koja u potpunosti i funkcionalno i stilski odudara od filma i treba da se izbaci ako se već omaklo da bude snimljena.

Dane DeHaan je sjajan mladi glumac i čini sve što može u ovom nezahvalnom filmu ali ni on ne može da pomogne Verbinskom, kome očigledno u ovom slučaju nije bilo pomoći. Ipak, fanovi žanra svakako treba da pogledaju ovaj film, pošto horor retko kada dobija ovu vrstu vanity tretmana, i verovatno nikada u istoriji ovakva premisa neće biti snimljena sa toliko para.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11574 on: 28-05-2017, 13:25:20 »
HOOT Wila Shrinera, po romanu Carla Hiaasena, dečji je film sa ekološkom porukom koji bi verovatno danas bio poprilično zaboravljen da se u podeli nisu zadesili danas vrlo aktuelni glumci Logan Lerman i Brie Larson. I uprasvo glumačka podela i evfektno razrađeni mladi likovi čine da ovaj film danas i dalje može da se gleda i izdvoji. Paradokslano, scene sa stariojim glumcima su mnogo artificijelnije i eventualno tek funkcionalne za zaplet, u odnosu na one sa klincima. To sve postepno pomera fokus same priče sa ekološke dimenzije na odnose među klincima i zaplet o ugroženim sovama na kraju odlazi u drugi plan.

Carl Hiaasen je poznati američki satiričar i ovaj film to ne prikazuje, premda ima nekoliko duhovitih detalja. Shriner koji inače mahom radi televiziju drži fokus primarno u domenu dečjeg filma pa Hiaasenov smisao za humor nije u prvom planu. Paradoksalno, u obe Hiaasenove ekranizacije (druga je STRIPTEASE) nešto drugo je izbijalo u prvi plan.

Logan i Brie pokazuju da su pred njima velike stvari i to je vidljivo iz ovog filma. Štaviše, možemo reći da su upravo oni svojom igrom dali HOOTu jednu neočekivanu dimenziju koju autori verovatno nisu ni anticipirali.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11575 on: 29-05-2017, 12:32:49 »
MARKED FOR MURDER Mimi Leder je televizijski film po scenariju Dennisa Hackina, najpoznatijeg po par skriptova koje je pisao za Clinta Eastwooda. Mimi Leder je imala kratkotrajnu bioskopsku karijeru posle ovog filma sa par solidnih naslova ali najveći trag ostavila je na televiziji.

MARKED FOR MURDER je televizijski film iz 1993. koji je dobrano mariniran u tradiciji 80s pandurskog akcijaša. Powers Boothe igra osuđenika kog puštaju iz zatvora kako bi pomogao u radu policije, u sklopu posebnog programa rehabilitacije. Po izlasku, ubrzo, osuđenik naravno postaje one man army koji se obračunava sa raznim kriminalcima vrhuneći sa bandom dilera kreka koju predvodi lik u tumačenju Michaela Ironsidea.

Nažalost, Boothe i Ironside nemaju priliku za ozbiljan sparing u ovom filmu, čemu doprinosi i prilično epizodična struktura unutar koje se njihov sukob javlja tek u drugoj polovini filma a intenzivira se i razrešava dosta naivno praktično u završnom činu filma.

Ovaj strukturalni nedostatak scenarija je dosta čudnovat i moram priznati da ga nisam često sretao u ovako razrađenim i dosta eksploatisanim formulama. Otud, i sam MARKED FOR MURDER je prevashodno namenjen fanovima žanra i glumaca koji se u njemu pojavljuju.

Neke od postavki u kadriranju, naročito u sceni pregovora u zatvoru, Mimi Leder je kasnije doslovno prenela u svojoj epizodi serije JONNY ZERO koja ima neke slične elemente.
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crippled_avenger

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Re: The Crippled Corner
« Reply #11576 on: 30-05-2017, 10:42:19 »
Variety se oglasio:

It may have taken four films to get there, but the DC Extended Universe has finally produced a good old-fashioned superhero. Sure, previous entries in the Warner Bros. assembly line have given us sporadically successful, demythified takes on Batman and Superman, but they’ve all seemed skeptical, if not downright hostile, toward the sort of unabashed do-gooderism that DC Comics’ golden-age heroes exemplified. Never prone to stewing in solitude, and taking more notes from Richard Donner than from Christopher Nolan, Patty Jenkins’ “Wonder Woman” provides a welcome respite from DC’s house style of grim darkness — boisterous, earnest, sometimes sloppy, yet consistently entertaining — with star Gal Gadot proving an inspired choice for this avatar of truth, justice and the Amazonian way.


Although Gadot’s Diana Prince had a decent chunk of screentime in last year’s “Batman v. Superman,” “Wonder Woman” assumes no foreknowledge of any previous franchise entry — or of the character herself, for that matter. With most of the film’s presumptive audience too young to remember TV Wonder Woman Lynda Carter, Gadot and Jenkins have an unusually broad license to introduce the character to filmgoers, and they remain largely faithful to her comics origins while also crafting a hero who is both thoroughly internationalist and refreshingly old-school. In her earliest iterations, Wonder Woman was an all-American figure with a mythical background; here, she’s an essentially mythical force who just happens to fight for America.

Like far too many films before it, “Wonder Woman” offers yet another origin story, but at least it’s one we haven’t already seen several times onscreen. And perhaps more importantly, it’s almost entirely free of the distracting cameos and seeding of future films’ plotlines that so often keep modern comic-book films from functioning as satisfying standalone stories.

After a brief prologue in modern-day Paris, the action whisks us away to the secluded island of Themyscira, home to the all-female society of Amazons. Drawn in lush, misty colors, the island is a sanctuary for the tribe, sheltered by Zeus, whom they helped in fighting off a coup from the war god Ares. On guard against Ares’ possible return, the Amazons have all dedicated themselves to the arts of combat.

All, that is, except young princess Diana (Lilly Aspell at age 8, Emily Carey at 12), who’s the only child on the island. Yearning to learn the ways of her fellow Amazons, Diana is shielded from combat training by her mother Hippolyta (Connie Nielsen). Fortunately, her aunt Antiope (Robin Wright, cutting an imposing figure and affecting a strange accent) is the tribe’s chief field general, and she agrees to train the girl in secret. By the time she’s reached adulthood, Diana (Gadot) is ready to take on all comers, her traditional battle skills augmented by supernatural abilities of which she’s only partially aware.

Themyscira seems a realm outside of time, but the film’s 1918 setting abruptly announces itself in the form of a crippled German warplane that crash-lands in the ocean just beyond the island’s shores. Diana swoops in to rescue the pilot, an American soldier named Steve Trevor (Chris Pine). Once under the influence of the Amazons’ lasso of truth — a potentially silly device from the comic’s lore that the film adapts admirably — Steve reveals he was undercover with the Germans as a double agent, dispatched to collect intel on their experimental new weapon: a powerful poison gas developed by sadistic general Ludendorff (Danny Huston) and his facially scarred star chemist, nicknamed Dr. Poison (Elena Anaya).

When Diana hears Steve describe the Great War raging outside their protected enclave, she immediately suspects Ares has returned, and resolves to head to the front lines to confront him. She and Steve sail to London, and the film takes an unexpected, largely successful detour into light comedy, evoking shades of “Encino Man” as Diana stumbles wide-eyed through the big city, her rapport with Steve growing closer all the while. (Steve is the first man Diana has ever seen, and the film acknowledges the elephant in the room with some choice volleys of double-entendre.) The plot snaps back into focus when Steve and Diana learn Dr. Poison’s gas will soon be ready to launch at soldiers and civilians alike, and finding little help from military brass, they take off to the Western front themselves to intervene.

It says quite a lot about the general tenor of the DC cinematic universe that a film set in the trenches of WWI, with a plot revolving around the development of chemical warfare, is nonetheless its most cheerful and kid-friendly entry. But while “Wonder Woman” may dabble in moments of horror, it never revels in the vicissitudes of human depravity quite like its predecessors. A huge factor in its ability to convey a note of inherent goodness lies in Gadot, whose visage radiates dewy-eyed empathy and determination — and whose response to the iniquity of human nature isn’t withdrawn cynicism but rather outrage.

“Wonder Woman” is the first major studio superhero film directed by a woman, and it shows in a number of subtle, yet important ways. As skimpy as Gadot’s outfits may get, for example, Jenkins’ camera never leers or lingers gratuitously — Diana is always framed as an agent of power, rather than its object. When she finally unleashes her full fighting potential in an extended battle sequence on the front lines, the movie comes alive in a genuinely exhilarating whirl of slow-motion mayhem, and Diana’s personality is never lost amid all the choreography.

From this high point, the film begins to falter a bit in its final act, with some credulity-straining staging — a thunderous mano-a-mano battle appears to take place in full view of dozens of German troops, all of whom continue to blithely load cargo — and a final assault that lapses into the type of deadening CGI overkill that the film admirably avoids in the earlygoing. Approaching 2½ hours in length, “Wonder Woman” does fall victim to a fair bit of blockbuster bloat, and a trio of comic-relief comrades (Said Taghmaoui, Ewen Bremner, Eugene Brave Rock) don’t add nearly enough to justify their long-windup introduction.

Pine plays second-banana with a great deal of good humor: making little attempt to de-modernize his diction, he nonetheless registers as a noble yet sometimes lunkish jarhead, and it’s clear why Diana might find him attractive while also failing to be particularly impressed by him. None of the film’s villains get much of a chance to distinguish themselves, though Lucy Davis makes a good impression as saucy sidekick Etta Candy.

It’s an open question how much of the tone and aesthetic of “Wonder Woman” will extend to the innumerable future films in which her character is set to appear; subject to an exhausting amount of both kneejerk second-guessing and kneejerk over-praise, the DC Extended Universe has been figuring out just what it wants to be in fits and starts. But for once, it’s easy to stop the armchair executive producing and simply enjoy the moment.


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Meho Krljic

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Re: The Crippled Corner
« Reply #11577 on: 30-05-2017, 11:34:59 »
96% na Rotten Tomatoes u ovom trenutku. Kritika ga je očigledno lepo primila.

crippled_avenger

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Re: The Crippled Corner
« Reply #11578 on: 30-05-2017, 11:56:31 »
Verovatno se plaše da u'vate da ga šilje na filmu sa ženskim protagonizmom, ispred i iza kamere.

Zanimljivo je da ga hvali Variety koji je otprilike za Marvel ono što je VELIKA SRBIJA za SRS.
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crippled_avenger

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Re: The Crippled Corner
« Reply #11579 on: 30-05-2017, 12:26:40 »
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Ugly MF

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Re: The Crippled Corner
« Reply #11580 on: 30-05-2017, 14:24:17 »
Verovatno se plaše da u'vate da ga šilje na filmu sa ženskim protagonizmom, ispred i iza kamere.

Zanimljivo je da ga hvali Variety koji je otprilike za Marvel ono što je VELIKA SRBIJA za SRS.

Moze trtljaju kolko oce,
WW stvarno osvezava, bar sto se trejlera tice.
Atmosfera, 1 sv rat, milina za gledati....
uzadnje vreme avengeri, batmani, suisajd squatovi, pozeri de prsti sve od tehnologije, ili magije..
ne razlikujes 'Planetu" zemlju od ostalih 'planeta" u GotGalaxy.....

Ovde ce biti malko kvalitetnog stimpanka, i zenskica u kratkim suknjicama!
milina!

crippled_avenger

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Re: The Crippled Corner
« Reply #11581 on: 31-05-2017, 15:15:46 »
Weinstein Television has announced they have acquired the multi-season dramatic series “Guantanamo” which will mark Oliver Stone’s first time serving as director of scripted television.

Created by Daniel Voll (“The Unit”), the series will focus on the detainees held in the world’s most controversial prison, and those who defend and condemn them.

The multi-perspective series, in the vein of “Traffic,” is based in part on Voll’s first-hand research and will provide an inside, never-before-seen look into the darkest corners of Guantanamo.

The series will not only tell the story of the detainees, but will follow the lives of the soldiers, judges, lawyers, doctors, journalists and other civilians on the remote military base.

Stone plans to direct all of season one which Alexandra Milchan (“The Wolf of Wall Street”) will produce.
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crippled_avenger

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Re: The Crippled Corner
« Reply #11582 on: 31-05-2017, 15:17:08 »
The awkwardly titled “Live Die Repeat and Repeat,” the upcoming sequel to the well-regarded sci-fi tale “Edge of Tomorrow,” looks like it’s still on the way and director Doug Liman has spoken a bit more about it during press rounds for his new film “The Wall”.

Joe Shrapnel and Anna Waterhouse have penned the script for the follow-up which will see the return of Bill Cage (Tom Cruise) and Rita Vrataski (Emily Blunt) and Liman confirms to Happy Sad Confused that it boasts a more comedic tone and smaller scope. It will also serve as both a prequel and sequel and won’t be a war movie:

    “It’s mostly not on the battlefield, so there’s a whole new arena of fights we’re going to be using a lot of the technology, but also, because it is a prequel, it’s a lot of the precursor stuff.

    I think what people tend to do with sequels is they just make them bigger. And I’m like, ‘No, a sequel should be smaller.’ You did the first film as sort of the ad campaign for the sequel, so now you don’t need as much action.

    In the case of Edge of Tomorrow, people obviously loved the comedy and they loved the situation.. so we can do way more focus on Tom’s character and Emily Blunt’s character, and there’s a third character in the sequel that’s gonna for sure steal the movie. We can focus on that. I don’t need an action sequence every two minutes.”

Liman also says this isn’t a regular sequel, rather it’s a companion movie which will complete a ‘two movie-franchise’:

    “I see this as a two-movie franchise; there’s the completion of the story we set up in the first movie and the relationships between Tom Cruise and Emily Blunt – because, remember, at the end of the first movie, she doesn’t know who he is – and that’s gonna launch us into an amazing new direction. It does pick up right where we left off, but it doesn’t keep going forward because we’d screw with time because the aliens screwed with time.”

The plan is also to explore the nuts and bolts of the world more in addition to amping up the humor. Liman and Cruise’s next collaboration, “American Made,” opens September 29th.
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crippled_avenger

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Re: The Crippled Corner
« Reply #11583 on: 01-06-2017, 10:37:29 »
Sa velikim zakašnjenjem pogledao sam THE NUMBER 23 Joela Schumachera, jedan od onih filmova kojima je Jim Carrey želeo da se odmakne od svojih isključivo komičarskih rola, i snimio ga je u jednoj od svojih kreativno napotentnijih faza upravo na polju komedije. THE NUMBER 23 je baziran na scenariju Fernleya Phillipsa i nema nikakve sumnje da je autorska namera bila da upravo na bazi scenarija, odnosno na bazi same priče i načina kako je postavljena crpi ključnu atraktivnost filma. I nažalost, potencijalno zanimljiv zaplet o čoveku koji dobija na poklon knjigu koja naizgled govori o njegovom životu i razvija mu opsesiju brojem 23 (inače čestu među konspirolozima koji imaju numerološke fiksacije) slabo je realizovan iz više razloga. Jedan od osnovnih je taj što su scene u kojima se kao paralelna radnja prikazuje izmaštani svet romana, odnosno junakove projekcije u svet fantazije, deluje mahom jako nemaštovito, mehanički, i u pojedinim fazama repetativno tako da se taj dodatni sloj izraza umnogome gubi u nemaštovitoj egzekuciji na svim nivoima, od scenarističkog do rediteljstkog.

Potom, i u onim delovima koji su dobro dizajnirani i igrani, Schumacher ne uspeva da razvije neku pripovedačku virtuoznost, napetosti skoro i da nema, i ono što ima je nedovoljno u odnosu na materijal a to je šteta jer u pogledu fotografije u "realističnom" segmentu, uspeva da postigne zanimljivu atmosferu pa i dizajn.

Ako imamo u vidu da su glumci u filmu pre svega dobro izabrani, da je Carreyu odlično legao vehicle ovog profila, a da nmu je Virginia Madsen u svom post-SIDEWAYS ključu pružila izvanrednu podršku i komplikovane odnose među likovima učinila uverljivim, onda je zaista šteta što je film pao na nekim praktično mehaničkim detaljima filmske artikulacije.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11584 on: 02-06-2017, 03:06:33 »
Pogledao sam THE PERKS OF BEING A WALLFLOWER Stephena Chboskog, film u kome je ovaj reditelj adaptirao vlastiti roman.

Moram priznati da sam imao dosta teškoća da prepoznam šta je toliko dobro prepoznato u ovom indie comingofageru koji je prenatrpan raznim motivima, nijedan ne razrađije do kraja, nijedan ne biva adekvatno akcentovan, i ima jedan atribut po kome se izdvaja a to je zaista izuzetna glumačka ekipa mladih talenata u kojoj se nalaze Emma Watson, Logan Lerman, Ezra Miller, Johnny Simmons…

Dakle, Chbosky je okupio sjajne mlade glumce i oni uspevaju da učine film dinamičnim koliko god je to moguće, ali pored sjajnih mladih glumaca, Chbosky na istom mestu uspeva da saspe i veliki broj motiva, i veliki broj klišea koji donose iznenađenje samo utoliko što gledalac ne očekuje da se u istom filmu mogu naći zajedno svi ti klišei.

Nažalost, evokacija epohe a to je kraj osamdesetih odnosno početak devedesetih nije preterano ubedljiva i ne doprinosi mnogo filmu. Naprotiv, u nekim trenucima možemo reći da je smeštanje filma u epohu samo još jedan opterećujući kliše coming of age filma kojim se Chbosky koristi kao poštapalicom.

Kao što motive uvodi potpuno nekiritički, tako se Chbosky neprekidno laća raznih pripovedačkih tehnika pa i na tom nivou THE PERKS OF BEING A WALLFLOWER na kraju deluje kao čudnovata mešavina nepotrebno uvedenih tehnika.

Nisam čitao prozni izvornik, ali upadljivo je da film Stephena Chboskog pokušava da obuhvati priču romana mnogo više nego neku logičnu celinu. No, moguće je da se delu publike sav ovaj nesklad svidi, ukoliko do njih uspe da dobaci emocija ovog filma koji je dobronameran, pun zvezda ali ne i puno više od toga.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11585 on: 02-06-2017, 03:17:27 »
Pogledao sam THE FP Braće Trost, film koji istovremeno želi da parodira ali i da omažira filmove iz osamdesetih koji su spajali mlade likove, muziku kao životni kredo i pitanje života i smrti sa postapokalitičnim settingom. Ne možemo reći da je bilo puno tkavih filmova u osamdesetim, ali bilo ih je, setimo se kultnog STREETS OF FIRE.

THE FP govori o postapokaliptičnoj varoškoj pustoši u kojoj se mladi članovi bandi takmiče u igri koja podseća na Dance Revolution, populatni sadržaj arcade lokala širom sveta. Junaci svoje dvoboje na život i smrt imaju na Dance Revolution podijumu.

Jedan od braće Trost je direktor fotografije Brandon Trost koji se pokazao kao snalažljiv i talentovan na brojnim projektima, između ostalog i na CRANKu sa Neveldineom i Taylorom. Otud ovaj mikro-budžetni 80s throwback jako dobro izgleda. Nažalost, ovaj dugometažni film, potekao iz kratkog ostvarenja vrlo brzo potroši svoju ideju i vic na kome se bazira. Međutim, s druge strane ovaj film koji je navodno koštao 45 000 dolara nikada nije dosadan i ne testira strpljenje gledalaca. Pa ipak, samo fanovi exploitationa osamdesetih imaju šta da dobiju gledajući ovaj film jer je svima ostalima dovoljna informacija samo prepričavanje gimmicka,

Među producentima potpisan je Jason Blum. Ovo definitivno nije projekat koji spada u Blumov kanon ili delokrug ali jeste pokazatelj njegove proucentske raznovrsnosti koja je eto iskoračivala i u okvir maltene fanovske produkcije.

Pored vešte fotografije Brandona Trosta, treba istaći i izuzetan synth skor Georgea Holdcrofta.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11586 on: 02-06-2017, 03:19:14 »
Pogledao sam UNLOCKED Michaela Apteda. Ovaj film je čekao dve ili tri godine na pemijeru i slobodno možemo reći da to nije zaslužio. Naime, u komercijalnom pogledu UNLOCKED svakako nije u međuvremenu postao potentnije ostvarenje od tog čekanja, a u estetskom pogledu reč je o B-razradi špijunske formule u britanskom ambijentu.

Jedan od najzanimljivijih detalja u ovom filmu je produkcioni dizajn za koji je bio zadužen Ondrej Nekvasil u domenu scenografije i naša Bojana Nikitović u oblasti kostima. Tu je urađen odličan posao i ovaj B-film u svojoj suštini ima gritty dizajn koji prebacuje njegovu bazično bourneovsku premisu na ulični nivo.

Naravno, UNLOCKED nikada ne postaje le Carre ai je neprestano vrlo zabavan, dinamičan i filno se snalazi na toj liniji jednog od derivata SAFE HOUSEa. Šteta je što scenario u par navrata preuzima neke running against the clock tehnike koje su dosta klišetizirane ali to nimalo ne smeta usled opšteg B-vajba koji je Apted vrlo solidno evocirao.

Iskreno, žao mi je što Apted nije pokazao ovaj stepen veštine onomad kada je snimao Bonda, bio bi to mnogo bolji film nego što na kraju jeste, a to je jedan od najgorih ili možda i najgorih u serijalu. Ne znam šta je presudilo ovog puta, možda je dobar second unit ili stunt kooridnacija ali film je vrlo energičan, ume da žestoku udari, a Noomi Rapace uspeva da se nametne kao ubedljiva operativka na terenu kojoj nasilje nije sasvim strano.

Michael Douglas je efektan u svojoj supporting ulozi ali mora se priznati da njegova star persona nije dovoljno inventivno iskorišćena. S druge strane, Orlando Bloom doživljava priličnu reinvenciju u ulozi misterioznog ratnog veterana. Toni Collette ponovo igra undercover handlera i to radi dobro, a sada već i rutinski.

Na kraju, zapravo od svih segmenata filma jedini koji se ponajviše bazira na podrazumevanjima a opet nema onu dozu neophodne rutine jeste scenario koji nudi nekoliko jako zanimljivih devijacija u odnosu na klišee ali i nekoliko situacija koje su morale biti ubedljivije plasirane ili nešto razjašnjenije. Ipak, nesporno je da scenario češće prijatno iznenađuje.

Zanimljivo je napraviti paralelu sa Douglasovom ulogom u filmu DON’T SAY A WORD koji se delimično bavi istom temom. Naravno, on ovde biva prebačen na drugu poziciju ali sličnosti su evidentne.

Izgleda da su producenti filma računali da bi se ovde mogla izroditi franšiza sa Noomi Rapace u glavnoj ulozi. Ne verujem da će se to sada desiti, i pomalo mi je žao zbog toga jer ovaj film je bio fino B-iskustvo za ljubitelje žanra.

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ЖивОзбиљан

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Re: The Crippled Corner
« Reply #11588 on: 02-06-2017, 16:15:52 »
A CURE FOR WELLNESS je film koji je doneo katastrofalan gubitak New Regencyju i Foxu ali sigurno je da su oni uvereni kako je vredeo svakog centa. Naime, sada kad god neko ima primedbe na mešanje studija u rad autora, oni mogu da pokažu ovaj film i kažu "evo šta ste dešava kad autori imaju punu nesputanu slobodu".
...

Prosto je neverovatno da Fox pri zdravoj pameti da 40 miliona dolaza za film po ovom scenariju, sa ovom glumačkom podelom i da očekuje nekakvu gledanost.

Koliko je ovo zaista potvrđeno?

Mene zapatila jedna misao: koliko je brutalno satanizovan antagonista naspram Wall Street bankara (spojler: lik nije samo pedo već i Agamemnon sa svojom Elektrom) ovo nemoguće da je čista ideja Verbinskog.

Jer onda je Verbinski totalni idiot. Zna se kome odgovara da svoje protivnike označi kao fanatike, bolesne manijake i fundamentaliste. Zna to brate i Kim iz Pjongjanga.

Dakle, tolko smrdi na brutalnu intervenciju studija da me interesuje koliko je pouzdana informacija da je sve Verbinskoga maslo?
šta će mi bogatstvo i svecka slava sva kada mora umreti lepa Nirdala

crippled_avenger

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Re: The Crippled Corner
« Reply #11589 on: 02-06-2017, 16:23:11 »
Verbinski je rekao bih idiot. Ali da se ne bi mnogo kurobecao oko Pyongyanga, dali su mu da snima šta hoće...


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ЖивОзбиљан

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Re: The Crippled Corner
« Reply #11590 on: 02-06-2017, 21:08:20 »
Stvarno treba biti poseban komad budale pa se autocenzurisati tako sramotno. Baš mi ne ide u glavu...
šta će mi bogatstvo i svecka slava sva kada mora umreti lepa Nirdala

Re: The Crippled Corner
« Reply #11591 on: 02-06-2017, 23:56:46 »
Hollywood is fighting billionaire Sean Parker's plan to let you rent movies still in theaters for $50
Пре годину дана сам реаговао када је гос'н Крљић пренео вест о овом стартапу и као што видимо ствар није много одмакла. Сетио сам се неких уређаја који су на папиру и делимично у пракси представљали велика технолошка побољшања али који су из одређених разлога, од којих је главни недостатак садржаја за приказивање, пропали на тржишту. Рецимо висока резолуција на D-VHS касетама (то су практично квалитетне S-VHS касете са додатном рупом), тзв. D-Theater из 1998. Или REDRAY 4k Cinema Player iz 2012.
Постоје Kaleidescape уређаји и продавница који се рекламирају да пружају биоскопски квалитет приказивања (нису поменути у чланку) али им не иде најбоље и у августу 2016 су изненада објавили да прекидају са радом али их је финасијска инјекција вратила из мртвих.
Вероватно има неко на форуму ко користи Netflix Ultra HD па нека каже своја искуства. Ја нити имам Ultra HD телевизор, ни брзину од 25 мегабита у секунди (једва сам недавно увео TurboDSL 20/2) и не намеравам да користим кабловску телевизију.
Моја колекција дискова
"Coraggio contro acciaio"
"Тако је чича Милоје заменио свога Стојана."

crippled_avenger

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Re: The Crippled Corner
« Reply #11592 on: 05-06-2017, 03:44:20 »
PORK PIE Matta Murphyje je rimejk filma GOODBYE PORK PIE koji je režirao njegov otac Geoff. Geoff je kasnije otišao u Holivud i nametnuo se kao dosta pouzdan žanrovski profesionalac kom je nažalost nedostajalo malo sreće da bolje iskoristi svoje prilike. Na kraju Geoff je završio asistirajući Peteru Jacksonu.

Geoffov sin Matt dobio je mnogo bolju priliku na Novom Zelandu od one koju je imao njegov otac kad je u jeku Ozploitationa snimio film sa kojim je uspeo da se probije u svetske filmske tokove. Nažalost, ovaj film nema šarm Geoffovog originala. Ne samo da su likovi manje simpatični i da automobilske potere nisu tako energične i uverljive iako je film skuplji i ambiciozniji već se prepoznaje i jedan dodatni - vrlo specifičan - problem.

Naime, Murphyjev film ne samo da nema anarhični duh originala već preveliki akcenat stavlja na predstavljanje prilično mlakih a rekao bih i klišetiziranih likova. Na neki način, akcenat na dramskim scenama je preveliki u odnosu na to da one zbilja ništa naročito ne donose. U određenom smislu, reklo bi se da Matt Murphy snima autobomobilske potere samo kako bi “komercijalno” pokrio svoje pretenzije u domenu karakterne romantične komedije. Ali, ako je tako onda on na tom polju nema šta da pruži.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11593 on: 05-06-2017, 03:45:17 »
BAYWATCH Setha Gordona je otprilike ono što je i zaslužio svako ko je otišao u bioskop i dao pare da gleda bioskopsku varijantu poznate serije iz devedesetih. Dakle, film je glupost. Nažalost, u tome je vrlo pitom, mlak, suštinski nije preterano duhovit i ostaje prijatan zahvaljujući seriji gross out gegova koji mahom ne proističu iz cele ideje BAYWATCHa.

Seth Gordon je u filmu HORRIBLE BOSSES pokazao da itekako zna šta radi, i BAYWATCH je verovatno bio njegov pokušaj da “proširi svoje područje borbe” i na akcionu komediju. Nažalost, u ovom filmu on je podbacio na polju komedije, a akciju je samo načeo i nije se njome suštinski pozabavio iako je sa budžetom od 69 miliona dolara itekako imao kapacitete za tako nešto.

STARSKY & HUTCH Todda Phillipsa ostaje nedostižan uzorr na polju prekempiravanja relativno serioznih televizijskih izvornika. BAYWATCH nažalost nije dobacio ni blizu toga.

Šteta, iza kamere je bio potentan reditelj, na ekranu se pojavila odlična glumačka podela, međutim na kraju im scenario i režija nisu dali dovoljno materijala i dobar osnov koji bi opravdao ovakvu koncentraciju novca i kadrovskog kvaliteta.

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crippled_avenger

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Re: The Crippled Corner
« Reply #11594 on: 09-06-2017, 00:09:04 »
Mehmete, leakovao LIFE na besprekornoj kopiji. Nema više opravdanja...


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Meho Krljic

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Re: The Crippled Corner
« Reply #11595 on: 09-06-2017, 05:34:13 »
Saćemo da pronađemo.
 
U međuvremenu:
 After Years of Silence, We Finally Know More About the SR-71 Blackbird's Successor
 
Quote

Lockheed Martin's Skunk Works recently divulged some information about the SR-72 program to build a successor to the iconic SR-71 Blackbird reconnaissance aircraft. The advanced aircraft development division of Lockheed Martin told Aviation Week that hypersonic technologies, including a combined cycle propulsion system that merges a supersonic jet engine with a rocket engine, have advanced to the point that work on the planned SR-72 can begin in earnest. On paper, the SR-72 will be a strike and reconnaissance aircraft capable of topping Mach 6."We've been saying hypersonics is two years away for the last 20 years, but all I can say is the technology is mature and we, along with DARPA and the services, are working hard to get that capability into the hands of our warfighters as soon as possible," Rob Weiss, Lockheed Martin's executive vice president and general manager for Skunk Works, told Aviation Week.
 
The Air Force and DARPA have been working on the early development of a hypersonic successor to the SR-71 since the early 2000s. In 2013, the USAF announced that it had begun design work on a scaled demonstrator of the SR-72. Since then, however, almost no details about the program have been released.
 
Now Skunk Works has confirmed that ground tests on a combined cycle engine with elements of a scramjet and rocket engine were conducted from 2013 to 2017. Lockheed Martin partnered with Aerojet Rocketdyne to began work modifying an off-the-shelf turbine to build a combined cycle engine back in 2006. The advanced aircraft division also said that it was getting close to starting full scale development of a flight research vehicle (FRV) that could be piloted or operated remotely. This FRV is expected to be about the size of an F-22 and use a full combined cycle propulsion system, according to Aviation Week.
Lockheed Martin optimistically plans to fly an FRV in the early 2020s. Following demonstrator flight testing, a full-scale twin-engine SR-72, about the same size as the SR-71, could achieve first flight before 2030.
The SR-72 program has been under the hood for years, and details are still tantalizingly lacking. In the 2020s, however, we could finally see what Skunk Works has been up to for the past two decades.
 

Ugly MF

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Re: The Crippled Corner
« Reply #11596 on: 09-06-2017, 08:57:15 »
Life je najnepotrebniji snimljen film ikad!
Jefvtino, isprazno, neinspirativno, loše, bezvezno protraćeno vreme snimatelja, glumaca, a i moje.
Totalno sam objektivan!

crippled_avenger

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Re: The Crippled Corner
« Reply #11597 on: 09-06-2017, 19:07:21 »
SR-72. Ludilo!
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crippled_avenger

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Re: The Crippled Corner
« Reply #11598 on: 09-06-2017, 19:17:55 »
KING CHARLES III Ruperta Goolda je BBCjev televizijski film nastao po pozorišnom komadu Mike Bartletta. Nažalost, zanimljiva premisa ovog komada i televizijskog filma nije naročito dobro razrađena, izvan onoga što je inicijalna ideja. Naime, film prati situaciju u kojoj je Kraljica preminula, Charles posle dugog čekanja preuzima vlast i odlučuje da zaista vlada državom, prvo tako što će sprečiti donošenje zakona o štampi koji on smatra nedemokratskim. Ta situacija sa zakonom dovodi do krize političkog sistema i sukoba između parlamenta i krune, a usput i dinastičkih intriga.

Mike Bartlett u pojedinim detaljima pokušava da podseti na britanski HOUSE OF CARDS a svemu tome dodaje i dozu šekspirovskog pristupa dinastičkim odnosima, međutim, na kraju sve to počinje da deluje neukusno, kao neki od površnijih projekata Channel Foura. Naime, ideja da Kraljica napušta scenu i Charles preuzima stvari nije toliko daleko od realizacije, i ovde govorimo o ten minutes ahead situaciji. Zatim, spoj kritike monarhije kao koncepta koji biva izmanipulisan od strane establišmenta, i cela ideja da zapravo više niko ne želi da monarhija bude išta više od puke ceremonijalne postavke, ne stoji u skladu sa jeftinim podbadanjem kraljevske porodice kome autori neumitno pribegavaju.

Stoga, KING CHARLES III deluje estetski retrogradno, ideološki i intelektualno neubedljivo te na svu sreću barem nije dosadan, i mislim da ga obrni-okreni ne smeju propustiti oni koje zanimaju ovakve teme.
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mac

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Re: The Crippled Corner
« Reply #11599 on: 10-06-2017, 13:59:55 »
Prodaje se na aukciji originalni mač Konana varvarina, kao i originalni oklop koji je Bil Pakston nosio u Tuđinima. Cijena? Sitnica za pravog ljubitelja Džona Milijusa i Džejmsa Kamerona...

http://io9.gizmodo.com/the-actual-skywalker-lightsaber-from-star-wars-and-empi-1795972052