The Crippled Corner

[Ghoul]

moram da priznam da mi je od tog filma ostala samo ta replika i osećaj gotovo nesnosne dosade i gubitka vremena protraćenog na njegovo gledanje.
istina, gledo sam to pre više od 20 godina, ali uopšte ne vapim za reprizom...
ali zato mi ta replika svako malo dođe u pamet, i uvek se iznova nasmejem.
DEMOLIRAĆU ŠUMU!!!

[crippled_avenger]

U ZATVORU Gordane Boškov je zanimljiv film, koji iako je nedopustivo slab, deluje zastrašujuće kompetentno gledano iz današnje vizure. Moram priznati da me takav utisak pomalo plaši pošto je Gordana Boškov oduvek slovila za diletanta čije ime je sinonim za nešto najgore u našoj kinematografiji.

Međutim, to najgore se promenilo, imamo novi Šijanov film i sl. i sada ZATVOR deluje kao nešto što nije baš toliko loše a nije najgore.

U ZATVORU je film koji pokušava da se bavi problemski pozabavi stanjem kaznionica u SFRJ kroz jedan vrlo jednostavan zaplet o bivšoj sudiji i pokušaju da osveži atmosferu u zatvopru za žene. Umesto straha, ona pokušava da stvori mir u zatvoru tako što će se razumeti sa štićenicama; umesto cinkarenja, ona želi da stvori poverenje; umesto zaveta ćutanja, ona želi da se sazna istina o svakom zločinu koji žene robijaju umesto nekog drugog.

Upravo zbog takve istrage, upravnmica biva frejmovana, optužena za primanje mita koje nij počinila i gurnuta u ambis povratka svom ranijem poroku-čašici.

Imajući u vidu da film obiluje karakternim vinjetama svake od zatvorenica, nekadašnje čuvarke koja je iz ljubomore ubila koleginicu; simpatične prostitutke; mlade narkomanke koja je spremna na sve za drogu; stare lopuže koja ne može da se kontroliše ni u zatvoru; i čedomorke, moglo bi se reći da ovaj film ima prilično razvijenu priču. Iako se to po kvalitetu dijaloga ne vidi, njih je pisao čuveni dramski pisac Đorđe Lebović. Ova količina zapleta, paralelnih radnji, intrige i sl. deluje kao domaći zadatak za savremen srpske scenarije koji su pravolinijski bez zanimljivih zapleta i sukoba među karakterima. Scenario obiluje klišeima, oni naravno ne funkcionišu pošto film nije exploitation pa da može da ih andoknadi na drugom polju. Međutim, vrsta klišea, i taj minimalni sadržaj koji je inherentan formi, deluje krajnje bogato u poređenju sa našim savremenim filmom.

Kad je o glumi reč, ZATVOR ima tu old school rutinu većine glumaca koji su manje-više podnošljivi. Elizabeta Đorevska potpuno promašuje u ulozi narkomanke i nevešto prikazuje stanja krize i drogiranosti; Dragomir Bojanić Gidra se grčvito bori sa svojom dramskom ulogom koja je u tom trenutku već bila iskorak iz rableovskog pakla u koji je upao sa Čalićem, ali mu nema spasa. Svi ostali su na svom nivou. Taj stabilni SFRJ nivo je takođe nedosegnut u domaćim filmovima koji se oslanjaju na glumce koji nisu stasali u zajedničkoj kinematografiji.

Ipak, poseban ugođaj je bizarna režija Gordane Boškov. Naime, Godana Boškov mahom režira sve vrlo strejt na nivou tadašnjih TV serija, da se vidi šta rade i da se vidi ko govori. Međutim, ona u svakoj sceni dodaje jedan bizaran, gotovo Italo detalj. Naime, na kraju svake scene, napravi nagli zum na junaka koji je na njenom kraju ostavljen sa nekom dilemom ili pozvan da na neki način odreaguje. Ovo je u suštini takođe televizijsko rešenje, karakteristično pre za kraj epizode nego za svaku scenu, ali ona ga koristi u maltene svakoj sceni tako da zumovi poprimaju svojstvo banalnog ali kudikamo konsekventnog rediteljskog koncepta.

Tako bizarno jeftin rediteljski touch u spoju sa temom ženskog zatvora daje filmu izvesnu aromu eksploatacije. I nominalno, ovaj film ima sve landmark explotationa, lažnu žensku emancipaciju, zatvorenice koje manipulišu seksom kako bi od čuvara saznale tajne, scenu pod tušem i sl. Ipak, nijedna od tih scena nije adekvatno akcentovana i postavljena kako bi bila tumačena kao osvepšćen exploitation i pre bih rekao da su to klišei.

Ovaj film vapi za dubbovanom verzijom u kojoj bi junaci govorili zanimljivije stvari i tada bi se možda približio kemp klasiku. Ovako ostaje samo zabrinjavajući znak kako je dno ranije bilo pliće nego danas.

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[crippled_avenger]

"Homicide" collaborators David Simon and Tom Fontana are looking to reunite for an HBO miniseries about the 12-day search for John Wilkes Booth.
HBO won't comment on the adaptation of James L. Swanson's book "Manhunt," which follows the search for Abraham Lincoln's assassin. The project is in early development, with the pay cabler optioning the tome and Simon and Fontana set to pen the screenplay.

Simon and Fontana would serve as exec producers, along with Lawrence Bender, Kevin Brown and Walden Media.

Story will focus on the perspectives of lesser-known historical figures that were connected to the assassination of Lincoln and the subsequent media frenzy and manhunt.

"Manhunt" would mark the first collaboration since Fontana helped Simon adapt his book "Homicide: A Year on the Killing Streets" into an NBC cop drama back in 2003.

Development comes on the heels of another HBO history-based multipart series, "John Adams," which garnered 23 Emmy noms.

[crippled_avenger]

Pogledao sam THE ONE THAT GOT AWAY Paul Greengrassa.

Reč je o TV filmu koji govori o neuspeloj misiji osmočlane patrole SAS kojima je zadatak bio da unište konvoj sa Scud raketama tokom Pustinjske Oluje. Međutim, sudeći po Greengrassovom prilazu, koji je svakako iz liberalne vizure, njhiova akcija je bila nepažljivo planirana, puna javašluka u svim segmentima uključujući obaveštajce i logistiku.

Tako su se oni našli iza neprijateljskih linija, od osmorice trojica su poginula, četiri su zarobljena a jedan je uspeo da pobegne. Greengrass tumači njihov neuspeh kroz seriju grešaka koje su krunisane neslaganjem unutar jedinice. Na Greengrassovom filmu konsultant je bio Chris Ryan, onaj koji je uspeo da pobegne. Međutim 1999. izašao je film u kome je ekranizovana knjiga zarobljenog Andy McNabba komandanta jedinice koju je radio stari TV reditelj Tom Clegg a scenario je pisao pisac EDGE OF DARKNESSa, Troy Kennedy Martin. Još uvek nisam gledao taj TV film ali pogledaću i njega da bih kompletirao sliku.

Greengrassov film je vrlo uzdržan u pristupu, ne pokušava da stvori simpatije prema pripadnicima SASa tako da ova ratna priča deluje kao dosta suv, objektivan prikaz događaja. Videću da li se BRAVO TOW ZERO razlikuje u prilazu.

U svakom slučaju, u ovom TV filmu, Greengrass pokazuje da na TV budžetu, u Južnoj Africi može da postigne film look. Ipak, u ovom filmu još uvek nema njegovog kontrolisanog dokumentarizma po kome je poznat u svojim BOURNE filmovima.

Zaključenje sa natpisom da je i posle misije SAS, pet godina kasnije Saddam još uvek na vlasti, čini film malo konfuznim i približava ga klišeu patriotskih TV filmova. Naročito, ako imamo u vidu da su Iračani prikazani kao neprijatelj koji je prilično civilizovan, bez prevelikih odskakanja od ratnih konvencija. Moguće je da je takav natpis nametnula televizija ili da je Greengrass želeo da poentira besmisao Pustinjske Oluje.

U svakom slučaju, THE ONE THAT OT AWAY je odličan uvod u novi Greengrassov film o ratu u Iraku, GREEN ZONE.

[crippled_avenger]

http://dobanevinosti.blogspot.com/2008/09/hoete-li-da.html

[crippled_avenger]

Pogledao sam USIJANJE Bore Draškovića, courtesy of Leon.

USIJANJE je film iz 1979. godine koji izgleda kao da je snimljen pedesetih, i to u SFRJ. To je dosta loš znak. Potencijalno zanimljiv predložak Mirka Kovača, čuvenog književnika koji je ostvario izvanredan opus u jugoslovenskom filmu, potpuno je ispušten tako da na kraju sukob glavnih likova na kome se temelji ceo film postaje čak i nejasan, ali na svu sreću razumljiv pošto iz iskustva znamo da jugoslovenski film ovog žanra ne može imati srećan kraj.

A žanr je melodrama smeštana u period pre, za vreme i posle rata, u selo u kome se narod bavi gajenjem duvana. Pošto država nepovoljno plaća duvan, seljaci ga švercuju. U celoj priči glavnu ulogu (premda po screentimeu i kvalitetu rola jedva da se primećuju) imaju dva prijatelja koji se tokom tog perioda pomažu ali i zavade...

Predmet sukoba mi je ostao nejasan. Film imako pokriva dug period ima jako duge scene tako da u suštini nudi malo događaja. Uprkos svemu ipak, ima to jedno retko svojstvo u našem filmu da se stvari kreću od tačke A do tačke B.

Ipak, najveća je krivica na Bori Draškoviću koji je u potpunosti rediteljski ispustio priču tako da ni osnovni sukob nije uspeo da predoči. Njegova inscenacija je spora i arhaična a poseban kemp momenat je kada seljaci prkosno svi zajedno puše istu cigaretu , to je već straight to YouTube materijal iz vremena kada su se džointi jedino viđalo u cautionary filmovima.

Bizarna koincidencije je da sam u ovom filmu gledao i Gordanu Kosanović, našu čuvenu glumicu koja je preminula 1986. godine u 33. godine a da je to treći film od četiri poslednja domaća u kome ona glumi. Nažalost, ona nije uspela da ostvari veliku karijeru ali je svakako igrala u u upečatljivim naslovima a još je čuvenija po pozorišnim ulogama i radu sa nemačkim rediteljem Roberto Ciullijem, za koga se udala i odselila u Nemačku. U ovom filmu, ona igra dosta marginalizovanu ulogu, ali pruža sasvim korektan rad.

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[ginger toxiqo 2 gafotas]

...kao što je na primeru kasnijih dela Slobodana Šijana postalo očito koliko su za uspeh njegovog  režiserskog rukopisa bili značajni nesumnjivo kvalitetni predlošci Dušana Kovačevića i/ili Nebojše Pajkića, tako je umeće Mirka Kovača (dobrog pisca, koga je  na putu ka statusu izvandrednog omela nerazumna i parališuća opsesivna ljubomora usmerena prema Kišu i Pekiću) očigledno tek u rukama veštijeg (Bahrudina) Bate Čengića (u slučaju MALIH VOJNIKA), dok je u mlitavoj i gotovo diletantskoj izvedbi i Tišma izgledao promašeno (uslučaju filma ŽIVOT JE LEP)...

[crippled_avenger]

Pogledao sam HEROES OF TELEMARK Anthony Manna, courtesy of Ginger.

Reč je o zanimljivom guys on a mission flicku koji u izvesnoj meri osvežava već poznate formule WW2 filmova u kojima se Saveznici ubacuju iza neprijateljskih linija kako bi nacistima uništili fabriku.

U ovom filmu, fabrika je norveško postrojenje za pravljenje teške vode u kome je bio osnov trenutne nemačke nadmoći u trci za atomsku bombu. Kao što je poznato, Nemci se nisu dokopali atromske bombe a jedan od razloga su bile i sabotaže u Norveškoj.

Iako je film dobio norvešku pomoć reč je o holivudskom proizvodu u kome Kirk Douglas vodi glavnu reč a dodatnu težinu mu daje Kirk Douglas. Anthony Mann mahom poznat po vesternima pruža vrlo kompetentnu i pribranu režiju kojoj je jedina zamerka korišćenje crno-belih dokumentarnih snimaka aviona u scenama sa avijacijom. Iako mi je jasno da su verovatno budžetska ograničenja odredila ovo rešenje, te scene sa avionima su povrh svega nepotrebne, i Mann ih je vlo dobro rešio sa avionima čije se prisustvo oseća van ekrana. Ako tome dodamo da film sadrži vrlo solidne akcione scene od kojih su uvodni napad kada pokret otpora surva stenu na nemački konvoj i završnica na trajektu zaista odlični i odolevaju zubu vremena.

Moram priznati da je meni Kirk Douglas od svih klasičnih zvezda najmanje simpatičan. Ipak, veliki sa Harrisov fan tako da on nadoknađuje sve ono što mi smeta kod Kirka.

U strukturalnom smislu, film ima nekoliko problema. Pre svega, troši previše vremena na objašnjavanje odnosa između Douglasa i Harrisa, s tim što u suštini te scene ne bi bile opterećujuće kada bi bile iole istinitije. Meni je problem odnosa između gerilca i naučnika koga uključuje u pokret otpora sasvim jasan, ali ovaj film nam daje neiskren odgovor na to. Voleo bih da vidim film o WW2 u kome će se najzad objasniti zašto su zapravo neki ljudi činili herojske podvige. Ne osporavam ja moć ideala ali sasvim sam siguran da je bilo mnogih koji se želeli da im se zaborave neki predratni gresi, ili su očekivali da budu deo vlasti potom. To je načeo Verhoeven u ZWARTBOEKu ali mi se čini da ni on tu nije išao do kraja. Ja ne mislim da podvige iz WW2 treba tretirati sa cinizmom, čak naprotiv, ali ako se pravi hagiografski film, onda ne treba da nas laže da je polemičan jer postaje dosadan. Posle gledanja ovog filma jasnije je koliki je majstor Bahrudin Krvavac i kako je to mudro realizovao u MOSTu kad graditelj ne bi da razori svoje delo.

Za razliku od deugih WW2 filmova koji u sebi sadrže jednu misiju, HEROES OF TELEMARK sadrži u sebi dve misije i činjenica je da posle ispunjenja prve, gledaocu opasne tonus, iako je realizacija druge misije jači set-piece. Pošto su misije vezane za uništenje fabrike teške vode najzanimljivije su polemičke scene u kojima Kirkov lik ne sme da oda tajnu za šta se ona koristi a opet ne može da objasni lokalcima zašto je racionalno žrtvovati čak i nekoliko hiljada ljudi kako bi se fabrika uništila.

U svakom slučaju, HEROES OF TELEMARK je zanimljiv film pošto nudi WW2 akciju u novom ambijentu, i bavi se temom nemačke atomske bombe koja je uvek za razmišljanje. Inače, naravno da ova holivudizacija priče iz Norveške nema puno veze sa onim šta se tamo zaista dešavalo.

Među scenaristima ovog filma bio je i legendarni Ivan Moffat koji je kasnije napisao classiest diverzantski film BLACK SUNDAY u kome su mnoga rešenja koja vidimo u ovom filmu i razbijanja konvencije zaista proradila.

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[crippled_avenger]

Pjongjang po uzoru na Kan

U Pjongjangu je u toku Međunarodni filmski festival, koji se održava svake druge godine i na kom stanovnici Severne Koreje mogu da vide inače zabranjene strane filmove.

Severnokorejski lider Kim Džong Il važi za strastvenog filmovila koji poseduje kolekciju sa 20.000 naslova, uključujući sve filmove o Džejmsu Bondu.

Premda se Kim, za kog se sumnja da je nedavno doživeo moždani udar, retko pojavljuje na ovoj manifestaciji, on se u vestima državne propagande redovno predstavlja kao "genije filmske umetnosti".

Na ovom festivalu je poslednjih nekoliko godina prikazano oko 70 filmova iz 30-ak zemalja.

Smatra se da je Kim doprineo osnivanju festivala koji postoji od 1987. i koji je koncipiran po uzoru na Kanski, ali bez pratećeg glamura.

U ovogodišnjim izveštajima državnih medija se ističe da je festival "otvoren svečanom ceremonijom" (uz pratnju ženskog limenog orkestra).

Umesto zvezda u večernjim toaletama, pozornicom su prodefilovali sredovečni zvaničnici u tamnim odelima.

U početku, festival koji je nosio naziv "Filmski festival nesvrstanih zemalja i zemalja u razvoju" prikazivao je opskurna ostvarenja iz malo poznatih izvora.

Na festivalu se, kao i u Kanu, dodeljuju nagrade za najbolje filmove: pre dve godine glavnu nagradu odneo je nemački Pre pada, o mladiću koji se suprotstavlja Hitlerovoj državi.

Postoji sumnja da je Kim, koji je u mladosti bio opsednut filmskom produkcijom, 1978. kidnapovao godine jednog od glavnih južnokorejskih reditelja i nekoliko poznatih glumica i primorao ih da snimaju filmove u Severnoj Koreji.

[crippled_avenger]

Povremeno volim da se povredim kako bih proverio da li sam još uvek sposoban da osećam.

U to ime sam juče pogledao WEEKEND Jean Luc Godarda, courtesy of Ginger. Mni je ovaj film od svih Godardovih bio najzanimljiviji kada sam ga gledao svojevremeno kao klinac. Iz današnje vizure, sasvim je jasno da u njemu Godard predstavlja svoj najradikalniji vid obračuna sa gledaocima i ljubiteljima narativnog, iluzionističkog filma, ali isto tako, ovo je i najfilmičniji Godardov film.

Dok je većina njegovih ostalih filmova imala auru priličnog diletantizma, WEEKEND je sporadično zaista zanimljiv. Ne samo zbog kultne scene saobraćajne gužve koja je ušla u antologiju najčuvenijih scena u istoriji filma već i inače zbog sporadično vrlo ekpresivnih prikaza kraja civilizacije koje je ralizovao sa punom pažnjom što se takođe ne može reći za veći deo njegovog rada.

U tom smislu, iako u sebi sadrži nizelemenata francuskog art filma koji se mogu ismevati, WEEKEND ipak stoji vrlo dostojanstveno i svakako da on nije povod za sve predrasude koje postoje prema francuskom art filmu, najpre zbog svoje neprikrivene političnosti.

Ono što je još zanimljivije jeste kako MLAD I ZDRAV KAO RUŽA sasvim dobro stoji u poređenju sa WEEKENDom. Naravno, Joca ga je snimio 1971. godine, četiri godine kasnije što samo pokazuje koliko u proseku naša interpretacija određenih trendova kasni za svetom. Međutim, Jocin film je koherentniji, zanimljiviji, i u krajnjoj liniji u odnosu na srpsku političku situaciju relevantniji nego što je Godard koji je strašno insistirao na političkoj relevantnosti-iz današnje vizure, Jocin film više govori o tadašnjoj SFRJ nego što Godard govori o tadašnjoj Francuskoj, a i šire.

Godard je naravno jedan od najomiljenijih filmskih reditelja kod nas pošto je u svojim filmovima toliko malo mario za egzekuciju da su se naši diletanti identfikovali sa njim. Međutim, u WEEKENDu on ima neke scene u kojima pokazuje da itekako ume da snimi dobro kad hoće.

U svakom slučaju od svih uzoraka Godardovog rada za one koji nisu gledali, WEEKEND je najreprezentativniji jer u najboljem svetlu pokazuje njegove generalne tendencije.

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[crippled_avenger]

The Hurt Locker
Directed by Kathryn Bigelow
USA/130 MINUTES/SPECIAL PRESENTATIONS
Director Kathryn Bigelow's first film in six years, The Hurt Locker follows three American soldiers (Jeremy Renner's cocky James, Anthony Mackie's pragmatic Sanborn, and Brian Geraghty's jittery Owen) as they encounter a series of perilous situations during the last few weeks of their tour in Iraq. The episodic structure employed by screenwriter Mark Boal admittedly does take some getting used to, as the film - which is essentially plotless - consists primarily entirely of stand-alone sequences detailing the central characters' various day-to-day escapades. There's little doubt, however, that the almost unbearably suspenseful nature of some of these scenes - ie James must disarm an explosive strapped to a reluctant suicide bomber - effectively ensures that one's interest rarely flags, although it's worth noting that the movie does start to run out of steam towards the end (with the inclusion of a fairly tedious nighttime mission certainly not helping matters). That's an awfully minor complain for a war film that is otherwise uncommonly taut and uniformly well acted; in terms of the latter, Renner delivers a breakthrough performance that's nothing short of stunning in terms of its power and effectiveness (Mackie and Geraghty, along with cameo players Guy Pearce, Ralph Fiennes, and David Morse, are also quite good).

[DušMan]

Uzeo sam da preslušam ovaj 'novi' album Eve Braun, pa se setio tebe (zato što znam koliki si fan:P).

Jesi li čuo ovu njihovu obradu grupe S.T.R.A.H, benda koji nas je nekad davno spojio, a onda ubrzo i rastavio?

[crippled_avenger]

Jesam. I na snimku i uživo. U suštini samo su odsvirali pesmu, zar ne? Nema tu neke obrade...

[DušMan]

Pa, jedino što su negde na drugom minutu pesme 'Noćas' ubacili refren iz pesme 'Mesec'.

[crippled_avenger]

10. oktobra su nam Lollobrigide. Očekujem da dotle nabaviš dosta lateks odeće... I da povedeš Meha da cruisuje zajedno sa nama obučen isto kao Al Pacino u Friedkinovom filmu...

[DušMan]

GDE? GDE? GDE?
Obavezno se ide.
Meho verovatno neće hteti (snob) na svirku da dođe ni normalno obučen. Mada, šta u kontekstu gde pričamo o Mehi zapravo znači 'normalno obučen'?

[Son of Man]

Da bre, dolazi se masovno na taj koncert, ovi moji nekoc metalci a sada hcpankeri svi oce idu na IDU

A ja nisam bash siguran jer ako bude u nekom malom klubu to ce bude katastrofa od guzve a i ovako shta odem i razbiju mi se sve iluzuje shto sam imo o Idi, ipak mislim da je uvek bolji fazon "NE NEMOJ MI PRICI...OCU IZ DALEKA" i taj fanzin, mada videcemo, poalko, cena karte, mesto odigravanja, i to pa ako se sve poklopi eto i mene  

[Meho Krljic]

Ma, doći ću i ja, a možda uspem da dovučem i ženu.

[DušMan]

To je to, ceo forum ide i to sa porodicom i prijateljima.
Znači, ja ću doći sam.  

[zakk]

A šta smo mi forumaši ako ne porodica i prijatelji!

[crippled_avenger]

U SKCu je koncert...

Radujem se što Forum dolazi u punoj snazi!

[DušMan]

Eto prilike da mrkoye snimi forumaše van foruma.
Trebalo bi iskoristiti priliku, pošto se to ne dešava svaki dan.

[crippled_avenger]

Meho, reci ženi da povede neke koleginice, znaš da je DušMan stari MILF Trainer...

[crippled_avenger]

Reprizirao sam OPERATION CROSSBOW Michaela Andersona.

Reč je o jednom od kultnih WW2 trilera koji nažalost ne uspeva da odoli zubu vremena. Slično HEROES OF TELEMARKu, ovaj film u suštini prati više misija i stilski je neujednačen. Počinje kao špijunska intriga u kojoj paralelno pratimo nemački razvoj bespilotne bombe i britanski pokušaj da ih otkriju, zatim se pretvara u gotovo vodviljsku intrigu prilikom infiltracije agenata kod Nemaca i konačno zavšava se kao rutinska priča o uništenju nemačkog postrojenja iza neprijateljskih linija.

Ovi razni prilazi ne čine film raznovrsnijim već upravo razbijaju gledaočev fokus, a uprkos tome što su dobro realizovani pojedinačno, ne postoji nikakva vezanost za likove koja bi događajima dala težinu. Iako je film za svoje vreme vrlo spektakularan, on danas zaista ne može da drži pažnju na nivou tehničke senzacije, i tu se nedostaci likova ispostavljaju kao još očigledniji problem.

Ja inače jako volim Michael Andersona kao reditelja, i mislim da je jedan od najpotcenjenijih ljudi u istoriji filma. U tom smislu OPERATION CROSSBOW svakako spada među njegove značajnije projekte pošto uprkos tome što ne funkcioniše kao celina ima jako dobro i pažljivo realizovane segmente. U tehničkom smislu, iako povremeno ima ubacivanja dokumentarnih materijala, deluje kao jedan od ambicioznijih WW2 naslova svoje epohe.

Posebno zanimljiv touch je kenadamovsko scenografsko rešenje nemačke tajne fabrike. Upliv scenografskih rešenja koja su već tada a naročito kasnije krasila Bonda daju filmu naročito zanimljivu stilizaciju koja je retka unutar ovog žanra.

U svakom slučaju, OPERATION CROSSBOW je obavezna literatura za fanove žanra pošto uprkos nedostacima nudi dosta svežih rešenja. Isto tako, išao bi kao dobar double bill uz HEROES OF TELEMARK kao još jedan akcjaš o prečavanje Nemaca da dođu do detternt weapona.

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[Son of Man]

Meho reci zeni da povede sestru, nisam je vido ima iiihahaj...since 2001. a i tad samo na tren...

Nego kolko je tukar ? Jer ipak to je jako bitna stavka za nas "roditeljima na grbachi boys"  

[cutter]

We've been expecting you, Mr... er...? New Bond blockbuster drops the catchphrases

The new Bond blockbuster 'Quantum of Solace' drops the catchphrases to return to the spirit of Ian Fleming's books

By Nicholas Barber and Andrew Johnson
Sunday, 21 September 2008

His name is Bond, James Bond: just don't expect him to introduce himself. For the first time in his 22 screen outings, Britain's best- known secret agent will not utter the words of introduction that have thrilled fans and appalled master criminals for 46 years.

Nor in his next adventure, Quantum of Solace, released in November, does 007 utter the other classic one-liner – "shaken not stirred" – when ordering his martini, according to the director, Marc Forster.

"There was a 'Bond, James Bond' in the script," he said. "There are several places where we shot it as well, but it never worked as we hoped. I just felt we should cut it out, and Barbara Broccoli and Michael Wilson [the film's producers] agreed, and Daniel [Craig, who plays Bond] agreed, too. It's nice to be open-minded about the Bond formula. You can always go back to them later on."

It is another radical departure for Bond who, in his last film, Casino Royale, found himself stripped of many on-screen staples.

Gone were the unfeasible gadgets on which he could always rely in a tight spot. The boffin who created them in the basement of the MI6 building, Q, played in the past by Desmond Llewellyn and John Cleese, was also therefore eliminated, along with Miss Moneypenny and her flirtatious banter. Bond even briefly abandoned his high-performance motor to drive a Ford Mondeo before reverting to an Aston Martin.

It is all part of a deliberate attempt to bring the agent with a licence to kill into the 21st century – the producers declined the film rights to Sebastian Faulks's Bond homage, Devil May Care, last month because it was set in the 1960s – yet also to take him back to his 1950s roots.

The move is welcomed by fans who have seen the films veer away from how Bond's creator, Ian Fleming, originally envisaged his cold-blooded hero.

Graham Rye, who edits the online 007 Magazine said that Craig, who made his debut in last year's Casino Royale, is much closer to Fleming's vision.

"The Bond films had become tired and needed reinvigorating," he said. "Rather than going away from Fleming I think the producers have gone back to him."

Mr Rye added that the famous ingredients of the film, such as Q and Moneypenny, had only featured once or twice in the books. Nor does he make a habit of ordering martinis or introducing himself.

"His announcing of himself had become a bit corny," he added. "Casino Royale gets back to the spirit of the books, rather than all the silliness."

Ajay Chowdhury, who edits the Bond fan club magazine Kiss Kiss Bang Bang, added that excising the famous lines was unlikely to upset Bond fans.

"The producers have been mixing and matching the famous Bond tropes – such as the theme song and the gun-barrel sequence," he said. "But this time there is a theme song by Jack White and Alicia Keys. If this line of script is not in there it's not going to undo the foundations of Bond. The fans didn't miss Moneypenny or Q. Bond is the only British character with worldwide resonance now, apart from Harry Potter. The producers are paying more attention to psychology and relationships, as well as adventure.

"Quantum of Solace picks up from Casino Royale, which was a really good thriller first and a good Bond movie second."

[Tex Murphy]

His name is Bond, James Bond: just don't expect him to introduce himself. For the first time in his 22 screen outings, Britain's best- known secret agent will not utter the words of introduction that have thrilled fans and appalled master criminals for 46 years.

       

Potrudiću se da ne gledam taj film.

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Ovo je stvarno jeziva prijava!

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Stephen Hopkins ("The Reaping," TV's "24") will helm the romantic comedy "Chasing Bohemia" for Brazil-based GreenGo Productions reports Variety.

Laura Malin's script is based on Australian Carmen Michael's book about her experiences in Rio de Janiero. The twenty-eight-year-old travel industry executive, ditched her job in London and moves into a yellow mansion owned by a flamboyant bachelor who lives in the hills between the favelas.

In the forgotten bairros of old Rio, Carmen embraces Latin American life, flirts with Brazilian high society, collaborates with an Italian revolutionary, walks straight into the well-sprung trap of a local hustler, runs away from him to Buenos Aires and then runs back -- only to fall for a samba musician from the local bohemian quarter.

The $10-15 million project begins shooting in Rio in mid-2009.

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Pogledao sam MINISTRY OF FEAR Fritz Langa, courtesy of Ginger.

MINISTRY OF FEAR je ekranizacija romana Grahama Greenea smeštena u London pod bombama. Ray Milland igra čoveka koji je u rastrojstvu svojevremeno ubio svoju ženu ali je izlečen, koga uvlače u neku vrlo komplikovanu špijunsku zaveru.

Sama priča sama po sebi nije previše važna. Iako nije reč o Hitchcockovom filmu, zaplet je na nivou MacGuffina. Međutim, za razliku od Hitcha, Lang ipak nema tu vrstu znakovitosti. Naime, Hitchevi filmovi iako su vrlo inhibirani uvek deluju prepunjeno zatomljenom erotskom energijom, subliminalnim simbolima, dok su Langovi filmovi pre svega značajni zbog njegovog vrlo modernog stila režije u kome vidimo koliko mu savremeni film duguje u tehničkom smislu. MINISTRY OF FEAR je sporadično u vizuelnom smislu začuđujuće moderan, naročito ako se ima u vidu kada je snimljen. U suštini, konvencionalni triler stilski nije previše napredovao ako se izuzme da današnji reditelji snimaju više pozicija kamere od Langa, ali u suštini to su ta rediteljska rešenja.

Upravo na tom nivou se vidi Langov značaj.

Kad je reč o samom pripovedanju, Langov film ima suštinski problem upravo u tome što se ne drži Hitchcockovog kncepta suspensea nego se oslanja na broje preokrete koji na kraju postaju arbitrarni i gube težinu. Funkcija preokreta u trileru ovog tipa je u tome da postavi novu dramsku situaciju pred junaka, međutim nijedna od tih situacija ne biva adekvatno razvijena, prosejavši ovaj film kroz gldalačko iskustvo ni ti preokreti koje Lang nudi nisu odoleli zubu vremena.

U svakom slučaju, kad je reč o inscenaciji i atmosferi, MINISTRY OF FEAR objašnjava zašto je Lang bitan autor.

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[crippled_avenger]

Talking to Spoutblog, Bigelow on "Iraq films."

Films about the Iraq war haven't really connected with audiences yet. Why do you think that is? Are we afraid to look at ourselves?


Well, first of all, there hasn't been one. I mean they're about soldiers reintegrating into the homefront. That is somewhat unprecedented. I mean, war is inherently dramatic, look at Black Hawk Down. Also, directly referencing in-theater combat is Fahrenheit 911, and that was a hugely successful movie. So, I think that's a misconception.

I think the difference here is that Bigelow doesn't take the liberal position but has made a non-partisan, but perhaps anti-war film.

[crippled_avenger]

I'm still fuming over Universal's proposed "reimagining" of MOBY DICK (from the writers who brought you ACCEPTED and NEW YORK MINUTE!), but the studio redeemed itself overnight by announcing their intention to bankroll Shane Black's return to directing. I'll live with what sounds like a glorified ORCA remake if it means I get more Black.

Interestingly, Black is not (currently) claiming a writing credit on COLD WARRIOR. Not to worry: the screenplay was written by Chuck Mondry, who's writing partners with Anthony Bagarozzi, who co-wrote the uproarious NICE GUYS with Black (Bagarozzi's also serving as a producer on COLD WARRIOR). Sounds like this one is all in the Black family, which means it's got a better-than-average chance at making my top ten list for 2009.

According to Variety, the narrative concerns an old-school Cold War spy who's brought out of retirement (despite being too old for this shit) to thwart a terrorist threat from the new Russia. Of course, this crotchety old spook is forced to partner with a (brash/inexperienced/imbecilic) young agent. Profane squabbling ensues. I wonder if it's set during Christmas.

Michelle Manning and David Greenblatt are also producing.

Note to Variety: you might want to change that whole " took a break from the biz after penning 1998's fourth installment of the LETHAL WEAPON franchise" before the once-and-future spec king torches your building. He is quite proud of not writing that particular movie.

[crippled_avenger]

Pogledao sam 100 FEET Erica Reda, courtesy of Ginger.

Verujem da smo Aca R. i ja verovatno jedina dvojica ljudi na svetu koji su smatrali da je novi film Erica Reda jedan od najočekivanijih filmova sezone. Ovaj alfa mužjak američkog horora osamdesetih je kao scenarista potpisao neke od najvažnijih žanrovskih filmova ove epohe, ali isto tako je kao reditelj radio neke potentne ali suštinski nezaokružene komade u kojima su se samo nazirali obrisi izvanrednog talenta. Međutim u svakom od ovih nastupa pokazivao je zašto je alfa mužjak ove epohe jer je barem u pojedinim deonicima ostvarivao jako ubedljive rezultate.

U tom smislu, reći da se Red sa filmom 100 FEET vratio bilo bi pogrešno. Kao scenarista HITCHERA i naročito NEAR DARKa Red je bio na ovim visinama, ali kao reditelj nije. Dakle, sa filmom 100 FEET Red je tek došao na jako visoko mesto među rediteljima.

100 FEET je što se mene tiče definitivno pronalaženje Svetog Graala za kojim se traga poslednjih godina u Holivudu, a to je mali napeti high concept film vezan za jednu lokaciju. Dešavali su se brojni poušaji da se snimi takav film, između ostalog PANIC ROOM Davida Koeppa je bio najskuplji scenario svih vremena a bavio se istraživanjem baš te teritorije, međutim, mahom su svi ti filmovi (uz časne izuzetke) pre ili kasnije padali na planu uverljivosti, logike zapleta i sl.

Redov prvi scenaristički rijumf u filmu 100 FEET jeste u tome što uzima jednu vrlo jednostavnu premisu i konsekventno je vodi od početka do kraja bez pribegavanja velikim melodramskim zaokretima. Film govori o ženi koja je ubila muža siledžiju koga policija nije htela da hapsi zbog zlostavljanja jer je bio zaposlen u policiji. Ona dolazi kući u kućni pritvor i biva vezana za elektonrski gadget koji joj onemogućuje da ode dalje od 100 stopa od kontrolne kutije tog gadgeta. Muž pšočinje da se pojavljuje kao duh i nastavlja da je maltretira i to na vrlo visceralan način.

Red pre svega uspeva da jako dobro logički zaokruži i motiviše priču. Svaki element i realnog i natprirodnog je savršeno logičan, prositiče iz priče i Red u scenarističkom smislu ne gubi kontrolu nad svojom premisom svih sat i po filma što mu se ranije dešavalo, setimo se BODY PARTSa, recimo. Gledajući ovaj film, gledao sam na sat, čekajući kada će Red po svom običaju izgubiti kontrolu, i nije je izgubio do kraja.

Ono što je još važnije jeste mudar tretman od već puno puta korišćene premise. Naime, Red se pridružuje liniji koja je meni jako draga, a to su autori koji jako brzo apsolviraju sva opšta mesta susreta racionalnog pojedinca sa natprirodnim. Junakinja vrlo brzo shvati da je reč o duhu i vrlo razumno ekonomiše sa tom informacijom, svesna da je ljudi neće baš razumeti i prihvatiti. U tom smislu sve obavezne figure tipa junakinja ne zna šta je to, pa onda sma ne može da veruje, pa kad ona poveruje, drugi joj ne veruju, svodi na minimum. Redova junakinja se ponaša apsolutno razumno kako bi se većina poznavalaca horora ponašala u toj situaciji i to čini ovaj film pravim uživanjem za gledanje.

Na metafilmskom nivou, podela sa Famke je odlična. Ne samo da je ona odlična glumica i da je personality actress koja može da iznese ovakvu rolu u kojoj nema scene bez nje već je zanimljivo i to da ona kao ovejana femme fatale iz brojnih filmova završava progonjena duhom muškarca koga je ubila što na odličan način zaokružuje njen korpus rola smrtonosnih crnki.

Ono zbog čega 100 FEET dobija ocenu manje jeste činjenica da film nije previše strašan, a to jeste jedan od zahteva žanra. Međutim, Red toliko maestralno priča priču da  nedostatak istinske strave zaista ne predstavlja problem. Velika je šteta što B-filmovi ovog tipa nemaju priliku da budu pickupovani od strane nekog mejdžor studija pošto ovaj film nimalo ne zaostaje na nivou production valuesa za naslovima poput PANIC ROOMa ili DISTURBIAe (koja je doduše pre njega koristila kućni pritvor kao device ali je film mnogo slabiji).

Ipak, nadam se da energija ovog filma neće proći nezapaženo i da će Red uskoro dobiti priliku da nam pokaže da li je one hit wonder kao reditelj ili nešto više. Iako njemu nije do šale, uostalom pokušao je da se ubije kad se to desilo, Red je jedan od retkih horor reditelja koji je ubio ljude na vrlo brutalan i upečatljiv način. Očigledno je da mrtvi koji progone ubicu na njega imaju i terapeutsko dejstvo.

100 FEET što se mene tiče svakako ulazi u konkurenciju za jedan od najboljih filmova godine.

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[Ghoul]

100 FEET što se mene tiče svakako ulazi u konkurenciju za jedan od najboljih filmova godine.
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100 FEET bi svakako bio bolji film da nije toliko nesnosno cheesy, da duh u njemu ne izgleda kao Maniac Cop blurovan nekim vrlo jeftinim efektom, da su moći i nemoći te planovi i namere duha iole precizniji a njegova zloba (pa time i pretnja) žešća, da je drama potentnija i da se više izmuzla ta fora sa 100 feet (iako, strogo gledano, kad ti život zavisi i kad te goni raspomamljeni duh, jebeš tu zujalicu koja ti meri odstojanje – ima da begaš što dalje, no matter what)!

kraj je posebno bezvezan, sa banalnom pirotehnikom vatre i explozija umesto emocionalne pirotehnike, a ta fora sa prstenom je mnogo komotnije bila smeštena u horor-komedije (lančić u EVIL DEAD i SHOCKER, npr.) nego li u ovo što pretenduje da je kao ozbiljan scary flick.

za poštovanje su neki momenti u kojima red izbegava klišee i preskače obavezna mesta, ali koncept je u startu ograničen i on nema gde drugde nego u neke druge, skoro podjednako predvidive klišee, što film čini prilično predvidivim.
kao što već drugde rekoh, moja ocena je 2+, što ga smešta u rang malkice iznad BAD MOONa, a zbog većeg entertejment veljua, čak i BODY PARTS mi je draži (tamo je CHEESE bolje uklopljen u priču, u samom startu, i svaka pretenzija na 'dramu' i 'likove' je preteknuta samim posezanjem za taim prastarim B-movie klišeom još iz ORLAKOVIH RUKU).
for my money, iako sam i ja nestrpljivo dočekao ovaj film sa velikim očekivanjima, meni sasvim sigurno neće biti u top-20 za ovu godinu.

PS: ja razumem dimbovu idolatriju e. reda, budući da je to čovek koji je pisao neke fine filmiće njegove non-plus-ultra muze, k. bajglou, ali realno, jedino njegovo što bih ja nazvao epohalnim jeste scenario za film koji nije ONA režirala – HITCHER.

[crippled_avenger]

Meni je moram priznati upravo to što je film uneventful odlično. Sasvim razumem ako tebi nije.

Mislim da duh ni za života nije imao neki masterplan kada je tukao Famke sem što je u tome iz nekog razloga uživao, pa tako i sada uživa u tome da je bugguje. Duh nema neki jasan plan, on je i dok je bio živ bio pokvaren i nenormalan, bio je dirty cop bez nekog naročitog razloga, tukao je ženu bez nekog naročitog razloga. Meni je to da je Pareov lik naprosto skot, čak ne ni oličenje nekakvog apsolutnog zla, nego eto tako, zapravo mnogo strašnije nego ako bi imali sad neku vrstu psihološkog objašnjenja.

U tom smislu kraj ima dosta emocija. Prvo, Famke se podaje drugom muškarcu u briljantnoj sceni kada svojim drskim pogledom čika pokojnog Parea. To je njeno prvo oslobađanje od njega.

A zatim joj neko poveruje da je Pare muči, i to neko iz njegove okoline što je veliko emocionalno olakšanje. Famke počinj film kao neko ome niko ne veruje ni kada govori o realnim stvarima, zatim joj še dešavaju natprirodne stvari o kojima ona ni sama ne bi da priča, i na kraju joj poveruju i u raniju uverljivu i u sadašđnju neuverljivu priču. Meni je to nosilo dosta emocije i bilo mi je katarzično.

E sad, ono što jeste činjenica od koje 100 FEET kako sam gora napisao ne može pobeći, film nije strašan, nije preterano originalan, ne nudi preokrete i iznenađenja na svakom koraku. Ali, s druge strane za razliku od mnogih filmova koji su strašniji, sa više iznenađenja i preokreta ili pokušaja da se izdefinišu emocije, ovde je ta priča, ma koiko ravna i klišetizirana (što dakle ne sporim) ispričana do perfekcije.

[Ghoul]

kad govorim o masterplanu i duhovim moćima mislim na nešto što je moj GENERALNI problem sa filmovima o duhovima, ili bar većinom njih, a ovde je on samo potenciran.
naime, ništa me ne izluđuje više nego scene tipične za azijske ghost flickove, mada ih ima i na zapadu, a koje imaju apoteozu u meni nesnosno debilnom i precenjenom originalnom THE EYE: naime, duh je u istoj prostoriji sa živom osobom: mi ga vidimo kako se leluja oko nje, izvija se, pruža ruke ka njoj; brrr, baš strašno, nešto nevidljivo je tu i jebaće joj kevu: i taman kad kandže duha priđu vratu potencijalne žrtve, BAM! u sobu uđe 'žrtvin' prijatelj ili rođak, i duh se POVUČE, nestane, ostavi mejhem za kasnije.
ALI FUCK, ZAŠTO?!!!
pa ti si jebeni duh, šta ti može bilo ko: ako si krenuo da nekom jebeš mamu, sky is the limit!
NIKO, a naročito niko ŽIV, ne može ti ništa.

sad, red nema baš takvu scenu ovde, ali budući da ne može da potroši praktično jedinu potencijalnu žrtvu, duh se zadovoljava njenim 'plašenjem', koje se – za moj groš- proizvoljno prekida. a najsmešnije u sceni na stepenicama u podrumu, u kojima se ona BUKVALNO šutira s njim, tj oslobodi ga se tako što ga ŠUTNE u bradu, iako je on, kao što rekoh, paperjasti prozračni blurovani nematerijalni entitet.
to šutiranje duha mi je bilo esencija cheesy + silly pristupa sablasnom u ovom filmu.
kao i njegovo odustajanje od daljeg napada onda kada ga ona šutne.
bezveze. da sam ja duh, tek onda bih pritisao kučku!

takođe, glede nedostatka pravila, koje plot svode na anything goes:
(SLEDI SPOJLER, NEK NE ČITA KO NIJE GLEDO)
kad strada femkin novi dečko (u jedinoj meni BAŠ zabavnoj sceni, iako je i ona parafraza prvog ubistva u A NIGHTMARE... + MALEFIQUE) ja sam se ponadao da će red imati muda da bude dosledan i da tu sad ubaci i NJEGOVOG (dečkovog) DUHA, kao zaštitnika.
naravno, te se ne dešava, ali ne znam zašto.
mislim, mrtav je, kao i njen muž, i ima emotivnih i svakih drugih razloga da se javi na tom mestu.
ali, ne javlja se.
sablasti se javljaju selektivno, i po nekim proizvoljnim pravilima (uključujući to sa prstenom, za šra prvi put sad čujem)

itd.

mislim, film je OK; ali zaista u krajnjem saldu, a naročito nakon nadasve razočaravajućeg kraja, to zaista nije ništa posebno.

[crippled_avenger]

Pulse-pounding action makes 'Hurt Locker' the Iraq War movie we've been craving



Perhaps, when it comes to films regarding the Iraq War and its surrounding politics, soldier dramas like "In the Valley of Elah" and "Stop-Loss" are not what immediately connect to us moviegoers. The case made by veteran filmmaker Kathryn Bigelow and "Elah"  screenwriter Mark Boal in their astounding war movie "The Hurt Locker" is that action, dusty, noisy, sweat-inducing battle action tells the story of Iraq War soldiers and their daily challenges in ways drama can never touch.



James (Jeremy Renner) is the new sergeant of a U.S. bomb disposal unit in Iraq who leads his young platoon past countless risks and numerous obstacles. With James at the center of its action whirlwind, "Hurt Locker" becomes a days-in-the-life adventure, following these soldiers as they face their tasks. Of course, what they do and the constant threats of death around them make their routines nerve- wracking beyond belief.



In terms of something fresh and new, "Hurt Locker" introduces Jeremy Renner as a leading man worthy of lead actor status. After roles in "28 Days Later" and "North Country," Bigelow offers the 37-year-old actor a performance that has it all: moments of heartfelt drama, bursts of heroic machismo, wrapped up in a simmering shell of intense commitment to his job and the Army.



"Hurt Locker" has all the explosions and gunfire one expects from a war movie yet Renner remains the focus of the film. He's bigger than everything around him, which may be the best compliment one can say of Renner's performance as the film's fractured hero.



Boal, a journalist as well as a scriptwriter, continues to build upon his "Elah" reputation as someone who mines great human drama from the Iraq War. "Hurt Locker" may be less complex and challenging when compared to "Elah" but it's a more successful movie. It's swiftly told and thoroughly engaging from start to finish. It's as if Boal came to understand that Iraq, a place of brutal action, required taut action in order for it to be captured accurately on film.



The one thing worth celebrating most about "Hurt Locker," which Summit Entertainment purchased soon after its North American premiere at the 2008 Toronto International Film Festival, is the spotlight it brings to Bigelow, a veteran filmmaker whose last studio film was the 2002 submarine adventure "K-19: The Widowmaker."



"Hurt Locker" shows how skilled Bigelow is at crafting tense and elaborate scenes of action. Helped by cameraman Barry Ackroyd ("Battle in Seattle," "The Wind That Shakes the Barley"), "Hurt Locker" never ceases to dazzle. Still, this is foremost a Bigelow film. While its action keeps us at the edge of our seats, Bigelow understands the thrill is as only good when audiences connect with the soldier in danger.



Bigelow's success revolves around her ability to bring life to James and reveal all the complexities that make him tick as he races to defuse his ticking bombs. It's something only a highly skilled filmmaker could pull off; the perfect balance of action and human drama.

[crippled_avenger]

On Saturday April 26th, 2008, ICONS staffer Kevin Klemm arranged for an interview with screenwriter/director Eric Red, who was responsible for some of our favorite genre pictures, including THE (original) HITCHER, NEAR DARK, BODY PARTS, BLUE STEEL, BAD MOON and COHEN & TATE. Eric spoke to us prior to his panel at the LA FANGORIA Weekend Of Horrors for his latest film 100 FEET. ICONS own Robg., John Torrani and Bryan Norton joined in for this rare chat and here are the results!- By Kevin Klemm, Robg., John Torrani, Bryan Norton - 6/08


Robg.: First and foremost, what are your earliest recollections of the horror genre? What films do you remember introducing you to the genre as a kid?


Films as a kid? PSYCHO. My mother and grandmother took me to see the film, when I was about 9 years old and still today, its one of the 2 movies that scared me into that particular adrenalin level that you just never forget. When my mother wonders where this all came from, I can always point back to the fact that she introduced me to the genre itself. But yeah, that film had an extraordinary effect.  


Bryan Norton: You said one of two movies. What was the other one?

THE EXORCIST. Those 2 films.


Kevin Klemm: Well, one of the things I was wondering – you and I are about the same age. Do you grow up on things like FAMOUS MONSTERS OF FILMLAND...

Sure did.

Kevin Klemm: ...and things like "Creature Feature" and "Chiller Theater"...

Chiller Theater with the 6 fingered hand? New York?

Kevin Klemm: Yes!

And in Philadelphia, Doctor Shock. Yeah, and they had films like CARNIVAL OF SOULS and all sorts of really interesting films. The "Hammer" films would be shown on that. I used to go to Comic-con's in New York when I was about 9 or 10.
Kevin Klemm: Did you ever hit the drive-in's or the "grindhouse" theaters when you were a teenager? I kind of lived at the drive-in and that's how I got my love of all the exploitation films and kung-fu movies.

Yeah, it's a shame with the drive-ins. They had them up all until recently and it's really one of the great forms to go see a film. You'd go sit in the car and watch one film after another with a group. I think I was introduced to THE WILD BUNCH and THE GREEN BERETS there. I used to tease Roy Scheider on COHEN AND TATE because he was in a film called CURSE OF THE LIVING CORPSE, which was one of his first movies.

Bryan Norton: Yeah! By Del Tenney!

Yeah. I managed to catch it in a drive-in. He liked to forget that one! Roy did his own stunts with the quicksand scene.  
Kevin Klemm: Yeah, I was thinking that one of the things that kind of shape's a person as a writer and a filmmaker is their upbringing in cinema. So, I'm always curious to ask someone what they're upbringing in cinema was like.

Probably even more then drive-ins, (for me) it was seeing movies in the old Times Square, New York, not the current Times Square, which is like Disneyland. Because people would talk to the movies! When you went to see a film with a proper audience, they would talk back or react and that's still what a movie should do.


Kevin Klemm: I remember many movies where it'd be quiet and then you'd hear "Don't open that door! You know what's in there!" Thing like that were always great. But... with the writing process for you, how do you start the creative process? Do you sit down with an idea and make an outline? Or do you do characters and let everything write itself? How do you go about it?


Well, first I try to make sure it'll hold up as a script. I start with an idea. Or with what they call a "high concept". Which actually is fairly good, it's one of the few things in the Hollywood development process that actually makes sense. You start with a central idea, and that idea stimulates and when you think about it, or tell it to other people, it stimulates all sorts of possibilities. And then I'll do usually a one page outline, see if it holds up there with a beginning, middle and end. If that works, I'll go into a treatment. And then I'll do the script. Once in a blue moon I'll go from an outline to a screenplay. Having the idea is the first part, but then you have to be sure it fleshes out. The characters come out of the idea. I don't start with characters, I usually start with a concept and the characters evolve from that.  
Kevin Klemm: So, once you have the story and start writing the characters, the characters sort of write themselves? Is that what you're saying?

Yeah. I mean, on my latest film 100 FEET, the concept is a woman is under house arrest for the self defense murder of her husband and she's haunted by his ghost. She has to wear an ankle bracelet, which only allows her to go 100 feet. The original thought was going to be that it was a man who killed his wife who was haunted by her. But then I thought, a woman would be a more involving and interesting and ultimately a sympathetic character. So, it started with the idea of this person who was under house arrest and who was haunted by a specter, and it'd take place in a very contained environment. The challenge of course is making that work. You had to have enough complications to keep that going. But, ya know when you say to an audience, you're basically going to have one person, a house and a ghost, you amplify the tension, because now you have to deliver.
Robg.: Let's talk a little bit about your latest film 100 FEET. I saw the trailer and thought it looked fantastic. Famke Janssen is the lead in it and I believe she's New York based?

Certainly is!

Robg.: How'd she become a part of this film? What was it about her as an actress that fit this story?  
Well... presence. And intelligence. And also, she's a very good actress. A beautiful one, but also someone who had a certain genre profile. It was just kind of an instinct. We sent her the script and she loved it, we met with her. We met with her for about 2 hours, and her orientation in our first discussion towards the character was really thorough. And also, she absolutely embraced the flaws of the character. She didn't want to play a goodie-too-shoes heroine. This character is a flawed character.  
She killed her husband in self-defense, but she probably could've found other ways to deal with the situation. She has to go back and be under house arrest and be haunted by him. She surprised me when we first met, for someone whom I'd seen in films like X-MEN.

Robg.: She's had an interesting career as an actress. Everything from X-MEN to Jon Favreau's MADE to HOUSE ON HAUNTED HILL.  
She's super smart, super well educated and super intelligent. And her stamina during the filming – the tough thing about this movie was that the actress was going to be in every single scene and almost every single shot. And for an actor to carry a film like that is very, very rare. She's a one or two take actress, literally. She delivered every single day. Her energy, her stamina, her preparation was really wonderful to work with.


Robg.: Looking back, what was the filmmaking experience like on 100 FEET as opposed to your previous films?

Well, it was more contained then any other film I did except for a picture I did called UNDERTOW, which I did in Lithuania, which was also set in a house. The film is 95 percent set inside this brownstone in Brooklyn. I insisted on shooting exteriors in New York in Brooklyn, for the outside of the house and all the shots through the windows. And then we built the place in a breakaway set in Budapest. So, it was very contained and very claustrophobic. That type of tension just added to the intensity of making the movie.



Kevin Klemm: I wanted to ask about NIGHTLIFE. What's the status of that?

We have a script and we're in very early pre-production.

Kevin Klemm: Can you tell us at all what it's about? Is it a vampire story?  


It's a contemporary vampire story. It's set in San Francisco. It's a bit of a contemporary "Hammer film" type of picture, in that it's very graphic, and it's very different from 100 FEET in that regard. It's very graphic in terms of violence and sexuality. It's about a girl who comes to San Francisco looking for her missing sister. She received a letter from her and she's come to find her. And she meets this guy who's very handsome and charismatic and successful who was friends with her sister, and he wants to help her find her. And this guy, of course is a vampire. And her sister got away from him. But he turned the sister into a vampire, and she's now trying to find a way (since he never told her how to kill vampires), she's trying to find a way to learn how to kill vampires so she can kill him.

Kevin Klemm: So she can get her revenge.

Yeah. So you have one sister going together with this guy to try to find her missing sister. And then the other sister learning how to kill vampires so she can get this guy and they're all headed on a collision course.


Kevin Klemm: Do you have a love of vampire pictures? Because I tell everybody that my favorite vampire film of all time is NEAR DARK. And I grew up on the Hammer films. I love vampire films, but NEAR DARK was just the most bad-ass vampire film, and as far as I'm concerned, nobody's been able to duplicate that.

Thanks.

Kevin Klemm: Was NEAR DARK your first collaboration with (director) Kathryn Bigelow?

It was actually our second. The first was UNDERTOW and then we wrote this one right after it in a couple of months.

Kevin Klemm: How was that working together on those scripts?
It was fun, it was fast! We'd write 5 pages a day. I'd write 5 and she'd write 5. We'd sit by the typewriter and toss idea back and forth. It was very efficient and a lot of fun. The fun with NEAR DARK was imagining what vampires would be like if they existed. It just automatically led - ... the vampire Western aspect was the concept at the beginning. You know, once you're in the mid-West, the idea of the sun coming up and going down when there's nowhere to go and no where to hide immediately lent itself. In thinking about vampires, if they were to be in contemporary society, they'd keep a pretty damn low profile because they're very vulnerable, as well as being very powerful. All that stuff with the American outlaw on the run kind of came out of that.  


Kevin Klemm: It had a lot of WILD BUNCH elements with the shoot out in the hotel...


Yep!

Kevin Klemm: I love that whole sequence. Them running to the van and the blankets catching on fire! I just think the collaboration between you two was always so brilliant. I've always loved her sense of style with directing. I always say that she's a woman with balls when it comes to her directing!

You don't have a horror movie until you have a couple of unique actions scenes. That's the thing you try to come up with when you do these things. When we had that scene where the bullets coming through the hotel walls and didn't hurt them, but the shafts of light did, that gave it something unique. Until you have one or two really good "rippers", you don't really have your movie set.
Kevin Klemm: It was all great with Homer, the little kid! With the fallen bike and him laying there in the middle of the street. His character was kind of like a spider, letting the pray come to him! You had such great actors involved in that too.  
Well, they're a clan! They're a family. The vampires actually – I think there's a few flaws in NEAR DARK actually, that had to do mostly with casting Adrian Pasdar at the beginning, because I think the film wound up becoming vampire heavy. Because the vampires as bad guys will often steal the movie, and they absolutely did. They were a family and a clan, and I don't think we ever quite rooted enough for the kid, which through the movie a little bit off balance. Jenny Wright was fantastic, she was perfect.
John Torrani: You were saying how the bad guys steal the movie. NEAR DARK is also my favorite vampire film. I own a huge Italian poster of it, I just bought a German poster of it today. I love that film. I like it because you root for the bad guys! I love rooting for bad guys, so having Lance Henriksen, Bill Paxton, Janette Goldstein – you have such a great group of bad guys, that's why I love the film. I'm ok with not rooting for the guy from HEROES.

Bryan Norton: Yes, but I can understand what Eric's saying. He wrote him to be more sympathetic.  
You can't help but root... It's like gangster movies. A great gangster movie is always about good bad guys or bad good guys. Flawed characters are always much more interesting. A flawed character will involve the audience on a much more fundamental level then a good guy will, because we can relate to them. It's what Hitchcock did so well. I still think at the end of the day, you need to take a moral point of view. You want to feel for the bad guys, but you still want the good guys to beat them. Although, in horror movies, sometimes your monster is your star.
John Torrani: Yeah, yeah. But basically what I'm saying is, don't feel bad about that! (Laughs) It's not a failure on your part. And my thing with the film is I feel you have so many great things coming together. The score, I love the Tangerine Dream score.

Yes.  
John Torrani: I love the nighttime photography. I had a professor in college show that film as an example of nighttime photography and I was the only person in the class who had actually seen the film. So, you have so many great things, plus the performances, plus your script, plus Kathryn Bigelow that you end up with a great movie.

Well, that bar scene, the thing about the vampires in that movie is that they love being vampires. Paxton in particular. His character Severen had all the best lines in the script and his audition by the way was perfect. He was from the first audition to what you saw in the movie, that was precisely it. But, you know that scene in the bar where they go in, they love killing people, and vampires would! The vampires in that, especially the lead loves being a vampire. He's a pure predator and killer.
Bryan Norton: That came across I think the way you intended it for me, because it's like Joe Pesci in GOODFELLAS. Sometimes, he was just really scary. You know they'll get them back eventually, but when they kill that waitress in there, I was like "How's Adrian going to get out of this one?!" (Laughs) I don't want to be in there with them! I wasn't rooting for the vampires, they scared me!

Also, American outlaws. Jesse James, Bonnie & Clyde, all those guys are killers, but there's a huge fascination with audiences for those kind of characters in movies.

Kevin Klemm: I wanted to go even further back in your career to THE HITCHER, because that was your first big gig in Hollywood, wasn't it? I remember going to see that in the theater and it just blew me away.

Bryan Norton: I saw it in the theaters too. Some guy threw up in the theater when I saw it. (Laughs)  


But you know, it's not a movie that has a lot of blood in it. And didn't even then.

Bryan Norton: It hit all the right notes though.

Kevin Klemm: Tell us the backstory if you can? Wasn't the story that you were traveling across country and you had picked up this sort of creepy hitchhiker and that provided the source material?


No, I don't know how that story got around. The truth was I always loved THE DOORS song "Riders In The Storm", which I thought would make a great opening for a movie. And I was driving across country through Texas. I had all this time on the road and I sort of said "Well, what if you started with this."  
I tried to think what I wouldn't think would happen next and that was how I did the whole story. I kept it with that whole confrontation, that kind of Hitchcockian confrontation. It's always a great thing when you have somebody who's innocent, and who is terrorized or put into a position by someone that's manipulating him. BLUE STEEL is actually, really THE HITCHER with a chick. Almost exactly.  


Kevin Klemm: I was watching BLUE STEEL again the other night and I had it in my DVD collection, and I hadn't really watched it in a while. I forgot how much I loved that movie!


(Jamie Lee Curtis) She's awesome. She's one of the best actresses still in the world. So, that kind of character, that kid who gets framed by this hitchhiker, this killer and then blamed for it – that's a character that the audience gets into because you relate to him. It's like "how do you get out of this?"


Bryan Norton: Henry Fonda in THE WRONG MAN.

Yeah. 39 STEPS.

Bryan Norton: Did you have any involvement in THE HITCHER remake?

(Laughs)


Robg.: They credited you as a screenwriter on that!

Total reluctant involvement. No, I had none whatsoever, nor did I want to have any involvement in it. But come the time that they went to the writer's guild for arbitration, they sent me a copy of the script and it was literally scene by scene, beat by beat, action scene by action scene, the same script as the first one. Except they changed some of the dialogue. Although, even that not as much. And then they made the kid two characters, which of course takes away all the jeopardy. The script was terrible, and I never saw the final film. But I wrote back to the writer's guild and said, "Guys. Basically, this is just my script done a little bit differently", so they gave me lead writing credit on it. I was reluctant, but given the choice, I felt that if you're going to take as many elements as they did from the original film, then may as well get the credit. Give the credit where it's due. But I disown the picture.  
Bryan Norton: They do kind of turn it into some silly "You go girl," "trick or treat, motherfucker" moment, when she's going to blow him away.

You would've thought that 20 years later, particularly because people saw the film, you wouldn't have just done the best scene at the end? Ya know, it also is interesting. The way you don't show it in horror films. It's like the scene in PSYCHO. You think you see all this shit with the knife, but you don't. It was so much scarier not showing the character get torn apart then it was showing it.
I mean, I heard when they showed this thing (in the remake) that people applauded in the theater. Well, nobody applauded to that scene in the first film. People were like "Oh my fucking God!" Because nobody thinks you're going to do it. They never think you're going to kill a main character.  
Bryan Norton: The minute the boyfriend shows up in this movie, you know there's going to be the final girl and you know there's no surprise and he's going to get killed. So...

Kevin Klemm: Rutger Hauer is so awesome in that part too... that as much as I like Sean Bean as an actor, I thought he was no Rutger Hauer...


Robg.: Yeah, cool casting, but I just couldn't bring myself to watch it, and I probably never will.


Sean Bean's a good actor. But Rutger Hauer had that sort of ephemeral physicality. There was just something so bigger than life on screen. And also, Rutger had an incredible feel for bad guys. He would steal the movie. Like BLADE RUNNER. He just steals that movie right from under Harrison Ford. That was his instinct. He wanted to play good guys, but it just simply wasn't his feel as a person, as a performer. His feel was for making bad guys – he had that incredible sexual menace.
 
Bryan Norton: Rutger did it without playing it like a bad guy. Sean Bean, in the remake plays it creepy. I think, Rutger is just kind of creepy by accident!
Well that was something in the remake script that they completely lost was any sense of psychologically motivation, which the character in (my) HITCHER has. He has a twisted logic, but it is a logic. I didn't see any of that (in the remake) at least from the script. Again, I didn't see the movie.  
Bryan Norton: Can I ask about a picture of yours that I've heard you don't like to talk about, BAD MOON?

Why wouldn't I like to talk about BAD MOON?

Bryan Norton: I heard somewhere that you weren't a fan of it because it was a troubled production, but I think it's a very underrated werewolf picture, and it's very well shot and the production values are great and why the hell did it go right to video?!

No, it didn't go right to video!

Bryan Norton: It didn't? It's so beautiful in widescreen.


I like BAD MOON a lot!

Bryan Norton: Ok! I take it back then! I've read the book!


I tried to do a different kind of werewolf movie with BAD MOON and it came from the book. The idea of a family dog – and a family member moves in and the dog loves this guy, but senses that he's another dog. The book is all told from the dog's point of view! Wayne Smith's book THOR, he may never write another book, but he never really has to. In that one, he so caught the character of that dog. I knew that in a movie, even though we couldn't really tell it from the dog's point of view, it still would be the audience's point of view, because the audience and the dog have the same information. So, that would still work. I mean, if I had it to do over again, I still would've made the film. I don't know if I would've cast Mariel Hemingway. Um, I think Michael Pare was superb in the picture and that's where we first met. I think he played the hell out of it. The CGI scene was terrible...  
Bryan Norton: It was very early CGI, so it was still kind of cool when they did it, but you're right.

I'll tell you, when I did the syndicated TV cut, I literally cut all of that out and just showed the foot bursting through the shoe and it worked much better. But, I think it's a horror film with heart. That's a film about unconditional love. It has a great sense of confrontation. I think the stuff with the dog and Pare all came together.
Bryan Norton: The German Shepard grand finale, you ruined that house!

It was a set.

Bryan Norton: Well, in the movie.

That was a very fun scene to shoot too. I storyboarded the shit out of it and it was planned for months. We used everything from the real dog to - actually, we imported him from Russia, a border-Shepard. There's one shot where the dog tears across the room and hits the stuntman, we actually build a werewolf suit that was one inch thick leather because of that one shot. He just totaled this guy. He took him clean across the room. We had dummies, we had everything. It was great fun to shoot and put together.

Kevin Klemm: Was that an independent or studio film?  
It was a Morgan Creek film and actually, we opened in 900 theaters, but Morgan Creek so completely screwed up. I mean, they put $100,000 dollars in PNA money in the film, let alone there were no TV buys. So, there weren't ads in the paper beforehand, so it never had a shot. But, it's found its audience. It's funny, over the years, with cable and DVD it's found an audience. It's different, it's not like other werewolf movies and I'm still glad I made it. You try to do things that are different than the average horror movie, ya know?

Kevin Klemm: Do you have any other pet projects in the back of your head that you'd like to do at some point? You've done the vampire genre, you've done the werewolf genre...
Well, I did a graphic novel called CONTAINMENT, which is the zombies in space story I did for IDW. It was published about 2 years ago, and it's definitely a film I'd like to make one day, hopefully in the coming years. It's all set in a space ship where there's a malfunctioning in the hypersleep cabinets. Half the crew is filled with cryogenic fluid and they turn into basically mindless zombies on the ship. But the trouble is, on Earth if you're in a shopping mall and a zombie puts his hand through the wall, you go into the next room. In space, if they put their hand through an airlock, you're screwed. It's a very fragile life support system. It's a very old-school, hardnose sort of picture.

Robg.: Is there any one of your films that stands out for you or that you personally hold a great affection for? One that you'd consider a favorite? Or are they all your "babies"?  
They're different. I think 100 FEET is probably my best picture, since I've been doing (films) for a little while now. I think in terms of performance and photography, best modulated pace through out. Plus, what I love about this film it that there's only one kill in the whole movie. It was very interesting to do because it was a woman in the house with a ghost and it was all about the mechanics of suspense. But I can tell you just from showing it, the audience is on the edge of their seats from beginning to end. Now, the current state of movies are so splatter and gore, that it was really fun to go back and do something that was totally kind of non-traditional. Probably that and BODY PARTS are my two favorites. BODY PARTS was the most fun I had on a picture.

Bryan Norton: How was Jeff Fahey?
Fahey was a lot of fun to work with. The whole cast was. Lindsay Duncan, Brad Dourif. It was a pretty big movie. It had all these locations, and effects and action scenes. There were a lot of toys to play with for that movie. Yeah, Jeff is a very individualist guy. He's has a huge family. Something like 13 brothers and sisters, and they're all grips, they run a grip service. He's definitely his own guy, but in person he has a warmth and humanity, which I really pulled out in BODY PARTS, but you don't see enough of in his movies. Although I thought in PLANET TERROR, you could see it. Jeff is a very charming guy in person. At least for most people. (Laughs)  
John Torrani: BLUE STEEL. Coincidently, I watched it recently. And while I'm watching Ron Silver, I'm thinking he's got to be making up a lot of this stuff as he goes along. Now, is he? Or did you write all those lines for his character?

No, his character pretty much stayed close to the script.

John Torrani: Even that part where he's digging through Central Park? I think at one point, he starts putting stuff in his mouth? I could just be remembering it wrong?

Ya know... I should probably see it again. (Laughs) You're talking about a script I wrote 20 years ago. (Laughs)

[crippled_avenger]

The Hurt Locker: As Manny Farber once wrote of Howard Hawks, Kathryn Bigelow "landscapes action." Focusing on a group of men in crisis, she's near the top of her form in this tense account of a U.S. bomb-defusing squad stationed in Baghdad trying to stay in one piece until the rotation deadline. The soldiers at its center (Jeremy Renner, Anthony Mackie, Brian Geragthy) never become more than ciphers, which is fitting for characters who seem to vanish into high-pressure professionalism as they cut wires or wait for the perfect shot in the middle of a sniper showdown. Bigelow works a sense of tremor into scene after scene, and her combination of handheld vérité and aesthetized slow-mo is often ravishing: The opening sequence, in which a desert detonation gets splintered into micro visions of rising dust, rust scrapped off an auto carcass, and their effect on the human face, could be released as a short film. Critique of the movie's lack of any sort of political stance is certainly valid, yet Bigelow's cinematic swagger ensured that at least one cinephile left the festival on a high, visceral note.

[crippled_avenger]

Pogledao sam THE FOOT FIST WAY Jody Hilla.

Ovo je indie komedija koja je dobila podršku Adama McKaya i Will Ferrella. Iako je u suštini slična autsajderska priča kao HOT ROD, projekat koji su prethodno podržali, ovaj film ima drugačiji rediteljski koncept i mnogo je bliži serijama poput CURB YOUR ENTHUSIASM ili EXTRAS.

Glavni junak je provincijski trener tekvondoa koji je groteksan u svojoj mačo pozi dodatno naloženoj kredom ove borilačke veštine a komedija se generiše u njegovim konstantnim sudarima sa realnošću.

Ubrzo ova goofy komedija postaje vrlo zanimljvima melodrama, i junaci uspevaju da zažive nezavisno od humora.

Ja inače nisam ljubitelj ovog konceopta komedije, međutim u FOOT FIST WAY zaista funkcioniše i Jody Hill izvlači maksimum iz svog minimalističkog koncepta, i uspeva da napravi veći komični crossover od mnogih vrlo uspelih komedija ovog tipa.

Iako je reč o jednom malom filmu koji u suštini nema veliki domet, ovaj naslov stoji kao odličan showcase za svoju ekipu i sigurno ću ih pratiti dalje.

* * 1/2 / * * * *

[crippled_avenger]

Pogledao sam THE LAST SHOT Jeff Nathansona, courtesy of Ginger.

Nathanson je poznat kao jedan od scenarista koji sarađuje na Spielbergovim projektima, serijama kao što je RUSH HOUR i sl. Moram priznati da za razliku od sličnih pisaca poput Koeppa, ja nekako nisam imao priliku da vidim film u kome se Nathanson naročito istakao. Uživao sam u izvsnoj mri u CATCH ME IF YOU CAN, ali to je otprilike to.

No, 2004. godine Nathanson je steao dovoljno specifičnu težinu da snimi svoj rediteljski debi. I snimio je komediju inspirisanu istinitim događajima o FBI agentu koji se predstavlja kao filmski producent kako bi skupio dokaze za mafijašku korupciju među Teamsterima. Producent pronalazi indie reditelja kroz čiji projekat želi da denuncira Teamstere.

THE LAST SHOT je satira o Holivudu na liniji GET SHORTY s tim što je Sonnenfeldov film daleko superiorniji pošto Nathanson želi da svaku poentu ukuca u gledaoca. Iako, nathansonu suptilnost nije jača strana, on ipak uspeva da dosta dobro zabeleži filmsku produkciju kao formu neizlečive zaraze i najboje donice film su upravo one kada ta zaraza krene da se širi. U tom smislu pšteta je što su likovi napravljeni da budu toliko idiosinkratični. Mnogo bi efektnije bilo da su likovi racionalni. Tada bi poenta o neodoljivoj moći filmmejkinga bila bolje plasirana.

Ovako THE LAST SHOT ostaje film koji je potrošio odličnu istinitu priču, koju bih BTW rado gledao u straight true story interpretaciji, i pretvorio je u jednu simpatičnu ali minornu komediju koja se izgubila kako na blagajnama tako i među kritikom i danas je gotvo zaboravljena.

* * 1/2 / * * * *

[ginger toxiqo 2 gafotas]

...Jeff Nathanson je rutiner koji se drži sredine puta, poudani je izvođač radova, te ne čudi ugled koji u poslednjoj deceniji uživa kod Spielberga...

...sam THE LAST SHOT je simpatičan film o mukama stvaranja filma, opšti ton je dobronameran, ima par zbilja dobrih trenutaka i efektnu polaznu premisu i ugao gledanja (uloga Teamstera), ali sve to pada u vodu kada se na drrugi tas stavi neosporiv fakat da je film izveden u formi komedije, a, nažalost, nije dovoljno smešan. Domišljastost nikada do sada nije uspevala da nadomesti zdrav i pametan humor, ni kod mnogo vičnijih od samog Nathansona.


***na listu zamerki bih stavio to što je (barem u mom poimanju stvari) izostao trenutak, ta suptilna promena kada Alec Baldwin (inače, sasvim dobar u ovoj ulozi) iz agenta sa skrivenim motivom postaje gorljivi ljubitelj filmmaking-a, a mislim da bi stvari mnogo bolje stajale da se uspelo na planu tog detalja.

[crippled_avenger]

Kunac i ja smo komisijski pogledali film Petra Latinovića ŠIROKO JE LIŠĆE.

Ovo je nažalost jedini celovečernji film Petra Latinovića. Ne mogu da kažem da je on u ovom filmu pokazao neki naročit kvalitet i da je veliki gubitak za naš film što nije snimao još. Ali, s druge strane, mislim da će u ovom naslovu naročito ljubitelji horora imati prilike da uživaju pošto je Latinović, izuzmemo li čuveno klanje kod Lordana u autobusu, snimio verovatno creepiest set-piece jugoslovenskog ratnog filma. Tome svemu jako pomaže vrlo italo skor Zorana Hristića koji daje prilično onostranu atnmosferičnost.

U dramskim scenama, Latinović je prilično strejt i prilično naivan. Ovo je film lošeg mejkapa kojim su postareni glumci, film u kome ljudi kada ih neko grdi čučnu u ćošak i šćućure se, lupaju rukom u sto, zid i sl. Sve te tipične boljke jugoslovenskog filma dopunjene su krajnje slabom igrom glavne glumice koja igra mladu novinarku, mnogim opštim mestima u podeli poput Mire Banjac i prilično nesigurnim tretiranjem vremena i prostora koji se graniče sa diletantizmom.

Ako se tome doda scenario koji je u formalnom smislu nedorastao pripovedačkom zahvatu koga se Latinović dotakao, pokušaja da ukršta vremenske tokove, da pravi dve podjednako napete priče u sadašnjosti i prošlosti, i da besramno ripuje tada vrlo svež film CZLOWIEK V MARMURU, ŠIROKO JE LIŠĆE obiluje raznim nedostacima.

Međutim, s jedne strane, Latinović gomila događaje koji ipak vode priču nekuda i film zbog same količine dešavanja nije nimalo dosadan.

A ono zbog čega se izdvaja jesu hororične scene u kojima se kamera odjednom oslobađa, postaje vrlo pokretna, Zoran Hristić krene da pumpa skor i nacisti napadaju malo selo u gotovo košmarnoj fakturi. Prvo dopbro rešenje je što Latinović konstantno pokušava da prikaže nacizam kao bolet tako da sve do poslednjeg trenutka izbegava da pokaže naciste već njihov dolazak porikazuje kroz simbole, poput vihora koji podiže crnu prašinu i sl.

Međutim, kada se nacisti neizbežno pojave, ni ustašama ni Nemcima ne pokazuje lica. Vide im se samo tela kao u Tom & Jerryju što svemu daje spooky crtu  Ako imamo u vidu da ustaše po dolasku u selo imaju nameru da seku jezike ljudima koji neće da odaju partizane, da kastriraju dečake i da ih bacaju sa vrha crkvenog tornja, i da sve te akcije preduzimaju, a da je potom u još jednoj sceni prikazan poptuno torture porn momenat terorisanja meštana, sa sve bizarnom napravom koju koriste za ubijanje, film zaista dobija na naročitoj težini za sagitaše.

I što je najzanimljivije od svega, sve te horor scene su zaista vrlo efektne i solidno urađene. daleko su ispred dramskih scena koje su sporadično nenamerno smešne. Upravo je zbog tih scena ovo dragocen naslov.

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[crippled_avenger]

'Americatown' in development from writer Bradford Winters
By Nellie Andreeva

Sept 29, 2008, 01:00 AM ET
What if the current financial crisis in the U.S. becomes so severe that Americans start to flee the country?

Welcome to "Americatown," a Chinatown-like enclave of U.S. immigrants in cities around the world.

HBO is developing the futuristic drama series project, which hails from writer Bradford Winters and producers Tom Fontana, Barry Levinson, Frank Marshall and Kathleen Kennedy.

Set 25-40 years into the future when the precipitous decline of the U.S. leads to a mass exodus of its citizens, "Americatown" takes place in a cluster of newly arrived American immigrants in a big foreign city.

"By presenting Americans as immigrants in the near future, as both underdog and hero in the drama of global dislocation, we substitute a mirror for the rancor that informs much of the partisan debates on immigration," Winters said.

The deal at HBO caps a decade-long development process for Winters, who at different points shepherded the project as a series, movie, miniseries and a book.

His original idea, which he shared with Fontana, was to take a "Traffic"-style look at immigration in present day New York from different points of view.

Winters was introduced to Fontana 11 years ago by his actor brothers, Scott William Winters and Dean Winters. After some freelance work by then recent college graduate Winters, he joined Levinson/Fontana and has been with the company on a nonexclusive base ever since, working on such series as "Oz," "The Jury" and "The Bedford Diaries."

After kicking the immigration idea around for awhile, Winters and Fontana had it on the back burner when they were approached by Marshall and Kennedy, who also had been looking to do an immigration-themed project.

A year ago, the quartet had been tweaking Winters' sprawling contemporary drama premise, figuring out how to address the complex political aspects of the immigration issue, in preparation for a pitch at HBO. Then one night at the dinner table, Winters came up with the futuristic idea that would become "Americatown." Winters is exec producing the project with Fontana, Levinson, Marshall and Kennedy. This marks the first collaboration between Kennedy/Marshall, whose Gregg Taylor and Matt Jackson will oversee the project, and Levinson/Fontana.

In his research for "Americatown," Winters had explored possible nightmare scenarios that could bring the U.S. to a collapse decades down the road, like the price of oil skyrocketing and natural disasters reaching catastrophic proportions. Then suddenly oil hovered near $150 a barrel this summer, floods hit the Midwest and the South and Wall Street crashed under the weight of the mortgage crisis.

How does Winters feel seeing the circumstances in his fictional tale become a self-fulfilling prophecy?

"What is happening right now is such a terrible disaster for so many people and, in some ways, I think it makes it less hard to argue that the events in 'Americatown' are impossible," he said.

Winters, currently on NBC's "Kings," Fontana and Kennedy/Marshall are repped by UTA. Levinson is with ICM.

[Ghoul]

Kunac i ja smo komisijski pogledali film Petra Latinovića ŠIROKO JE LIŠĆE.
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u cilju potpunijeg informisanja javnosti, moram da kažem da je ovo film koji bolje zvuči prepričan nego odgledan, i da je gornja ocena preterano velika.
ovo ne kažem da bih dezavuisao dimba, nego da bi ljudi koji ovo čitaju malkice smanjili svoja očekivanja.

sećam se kad je ovo prvi put išlo na TV, tamo negde ranih 80ih, valjda kao trodelna TV serija ili tako nekako, u nedelju uveče - ja to nisam gledo.
sutradan su deca u školi samo o ovome pričala, isto ko sad dimbo: jao mučenja, lele krv, pazi kastracija, kuku nabijanje na vile, auh krv, itd.
ja, naravno, proklinjem sebe što nisam pogledo kad sam mogo, ubeležim mentalno sebi naslov, i čekam, čekam... poprilično godinica do sledeće prilike kad je to išlo na tv. i uvatim ga najzad, i smorim se samim filmom, al dođe onda i to famozno mučenje... i tu se takođe smorim kolko je to mlitavo i kilavo.

mislim, ok, ima sicko wibe, i zabavno je videti na nekom trash nivou, ali nije ni izdaleko ni toliko explicitno ni toliko extremno ni toliko žestoko kao što iz priče zvuči - više je patetično nego što je gadno ili jezivo. recimo, nije ni prismrdeti MEGA-ZLOKOBNOM dejstvu koje je oduvek imao i još uvek ima onaj ultra-horor u sličnom ambijentu i periodu, salaš u malom ritu, gde švabe ne kastriraju decu al im tako surovo jebu mamu u nagoveštajima da je to nepovratno obeležilo moje detinjstvo.
a ovo ovde - pih. vrlo traljavo.

sećam se jednog kadra, kad bacaju čoveka na neke šiljke, a onda rez - i vidiš dug i tanak mlaz krvi koji šibne - kao da neko odmah izvan kadra IZ ŠPRICA prska crvenom farbom.
sve ovo gore opisano dešava se uglavnom offscreen. osim ako do dimba nije došao longer, director's cut with extra torture.

[Tex Murphy]

Šta znači dezavuisati?

But then I thought, a woman would be a more involving and interesting and ultimately a sympathetic character

Kakav klipan. Žena bi takođe bila mnogo jezivija kao negativac.

[crippled_avenger]

Pa dobro Ghoule, celokupna naša kinematografija a naročito žanrovska je mahom i zanimljiva na trash nivou, slabo šta je istinski vredno pažnje u širem kontekstu žanra. Meni je taj ceo sicko vibe i ta košmarna faktura bila zanimljiva jer ima neku energiju koju je inače teško naći u našem filmu. Ne bih bio nezadovoljan ako bi se sad pojavio neki naš film koji barem dobacuje do tog nivoa koji nije previsok, naročito ne u realizaciji, ali je super na nivou ideje (u tom spoky segmentu, naravno).

Mislim, Petar Latinović je reditelj sa TV Novi Sad, nije on Deodato. Ja sam i naglasio da ova scena ne dostiže menace iz OKUPACIJE U 26 SLIKA, ali ima u sebi neka dobro koncipirana rešenja koja su mahom osrednje ili slabo realizovana.

Što se same ocene tiče, možda je previsoka kad se uzme u obzir zanatski kvalitet filma, međutim, čini mi se da film zaslužuje pažnju, da ima u sebi neku autentičnu energiju a kad već ima tako nešto, onda zaslužuje jednu ocenu koja ga i preporučuje ali i upozorava na njega...

[Ghoul]

Šta znači dezavuisati?

raskrinkati, ocrniti, prikazati u pravom (crnjem) svetlu...

[crippled_avenger]

'Lethal Weapon 5' still in the works
Sep 24, 2008, 03:12 PM | by Nicole Sperling

Categories: Movie Biz

When reports surfaced this week that writer-director Shane Black (Kiss Kiss, Bang Bang) had signed on to direct Universal's Cold Warrior, it threw Lethal Weapon fans into a tizzy because they feared another installment of the beloved franchise would never come to pass. Truth is, the delay has nothing to do with Black, who wrote the first Lethal script and has penned a long treatment for a fifth iteration. (In fact, he plans to take over the director's reins from Richard Donner.) Lethal number 5 still hinges on Mel Gibson, who's currenlty filming Edge of Darkness in Boston. Longtime Lethal producer Joel Silver has been trying to nail down approval from Gibson about Black's approach, which includes introducing a pair of young NYPD cops. Hey, if Bruce Willis can pull off a Die Hard 4, another Lethal Weapon should be a snap.

[crippled_avenger]

Pogledao sam LA RAGAZZA DEL VAGONE LETTO Ferdinanda baldija, courtesy of Ginger. Baldija znam kao reditelja nekih vrlo edgy špageti vesterna sa kojime je stekao kultni ststus. Ovaj naslov snimio je u poznoj fazi, kada je već zagazio u šezdesete ali je ostao obešenjak italijanskog exploitationa.

LA RAGAZZA poznat i pod engleskim naslovom TERROR EXPRESS je rape & hostage ekstravagancija koja govori o trojici protuva koji odlučuju da malo po malo uzme sve putnike jednog vagona putničkog voza za taoce i da se malo zabave sa njihovim ženama.

Međutim, upravo je silovateljski element ovog filma najbizarniji pošto su sve žene osim one koja je prostitutka tražile đavola, Naime, prostitutka tokom putovanja primi dva kilejnta ali sa protuvama neće da ima posla sve dok je ostali putnici ne nateraju kako bi smirili otmičare ali sve druge žele da imaju posla sa njima u izvesnoj meri.

Baldi prvo parafrazira STRAW DOGS sa lakomislenom suprugom jednog od putnika koja bi da se zabavi sa jednim od otmičara ali silovanjem smatra fazu kada se snošaju pridruži njegov jaran. Zatim, imamo maloletnicu oko čije nevinosti se organizuje lutrija gde otmičari i putnici (uključujući i njenog oca) bacaju kocku, da bi potom njena nevinost otišla ne srećnom dobitniku već jednom od otmičara koji uzurpira svoj dobitak, ali se njoj to bogami svidi i ona ostaje zaljubljena u njega.

Ni sam otac koji se naizgled pravi da ne želi da je razdeviči nije nevin pošto uzima kćerkin veš i nosi ga u kupe prostitutki da ga ona obuče i za vreme seksa se predstavlja kao njegova kćer.

Sasvim je jasno da već ove prepričane scene ukazuju na to da imamo posla sa sočnim exploitationom. Međutim, Baldi uspeva da ovu količinu neuverljivog uživanja u seksualnom nasilju učini relativno uverljivom i na neki način bliskom jeziku mejnstrim filma.

Iako film obiluje dugim scenama seksa, i cela dramaturgija je koncipirana tako da objasni scene seksa, Baldi nikada ne zalazi u domen porno filma, a priča na kraju čak u izvesnoj meri postaje i zanimljiva kao hendikepirani triler.

Uvek je zanimljivo kada exploitation reditelj pokušava da u prvi plan stavi ono libidinozno naličje koje postoji u većini trilera i da na njemu bazira radnju svojih junaka. Sve ono što čitamo kao seksualni podtekst kod Hitchcocka ljudi u ovom filmu rade. Ipak, baldi nije klasa kao De Palma, a verujem da ni njegovi finasijeri nisu to imali na umu već da ih je zanimao čistiji exploitation.

U svakom slučaju, za razliku od mnogih rape & mutialtion exploitationa svoga doba, Baldijev je pismeniji i razigraniji.

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