Author Topic: Novi Reni Harlin  (Read 44740 times)

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milan

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Novi Reni Harlin
« on: 27-04-2007, 14:29:30 »
Renny Harlin recently finished work on "Brodie's Law", a $35 million sci-fi actioneer with an interesting concept. Now, Movies Online has a synopsis for the graphic novel adaptation which involves corporate espionage, conspiracy and a shape-shifting hero capable of looking like anyone by absorbing their DNA. Here's the details:

"Jack Brodie, a prison-hardened thief with a short temper and a bad attitude, hopes that a corporate espionage gig will be his ticket to a better life with his estranged, drug addicted wife and their son. The heist goes awry, but Brodie escapes with a secret project: the chemical formula PM13.

Brodie discovers that the heist was a setup; his wife has been killed and his son kidnapped. Fueled by revenge, and with the help of an alluring researcher, Brodie unlocks the secret of formula PM13. He infects himself with the formula, gaining the ability to absorb human DNA and take on the physical form and mind of whoever he touches.

In his desperate search for answers, Brodie becomes the very man who killed his wife and then a sultry dominatrix who lusts after the local crime boss. Before losing his own identity to these transformations, Brodie must confront the man behind this elaborate plot, rescue his son and save his own sanity."

crippled_avenger

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Novi Reni Harlin
« Reply #1 on: 27-04-2007, 14:38:27 »
Renny je cak pisao uvodnu rec za jedan od stripova iz serijala i on je sam jurio da bude atachovan za rad na tom projektu.

No, koliko ja znam on je tek nedavno wrappovao CLEANER, tako da, hm, mozda je tek SPAKOVAO film, ne znam...
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crippled_avenger

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Novi Reni Harlin
« Reply #2 on: 20-05-2007, 03:51:06 »
CANNES -- Darclight, the L.A.-based genre division of Arclight Films, has added the thriller "Brodie's Law" to its slate.
The announcement was made Friday by Darclight's Gary Hamilton.

Pic will be directed and produced by Renny Harlin from a script by Kirsten Elms and is based on the graphic novel by Daley Osiyemi and David Bircham. Producers are Steve Squillante, Ford Oleman and Mark Costas and is in pre-production. It involves a heist.

"This is a strong commercial film that exhibits material that a broad demographic can get excited about," Darclight's Gary Hamilton said.

Darclight Films was established in 2004 as the genre division of international sales, production and distribution company Arclight Films.
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crippled_avenger

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« Reply #3 on: 23-05-2007, 15:38:34 »
evo IMDb sranice o scenaristi

http://www.imdb.com/name/nm1187454/
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crippled_avenger

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« Reply #4 on: 23-05-2007, 15:40:36 »
A evo i kritike njenog debija :D

Banshee
 (Telepic -- Oxygen; Sat., June 24; 8 p.m.)
By LAURA FRIES
Taryn Manning plays a car thief who accidentally rips off a serial killer in Oxygen original telepic 'Banshee,' from helmer Kari Skogland.
 
Filmed on location in Montreal, Canada, by Wishmaker Film Production in association with Brainstorm Media. Executive producers, Meyer Shwarzstein, Caldecot Chubb; producer, Kimberly Berlin; director, Kari Skogland; writer, Kirsten Elms.
 
Sage Rion - Taryn Manning
Fitz Fitzgerald - Mike Lombardi
Eddie Rindall - Romano Orzari
Brenna - Genelle Williams
John Larch - Christian Campbell
Jack - Nicholas Wright
Tony Romano - Morgan Kelly
Mitch Murray - Tony Calabretta
Dallas - Mike Tsar
 
"Banshee," the first original action movie from Oxygen, the network owned and operated by women, is so off the mark it makes you want to beat your head against the glass ceiling. Rife with more references to oral sex than a Howard Stern show, the film is ridiculous, exploitative and downright creepy.
A confounding amalgam of car-chase action and serial-killer mystery with a little opposites-attract romance thrown in, "Banshee" purportedly delves into the mindset of a female car "tagger" with a heart of gold (think a grungier Angelina Jolie in "Gone in 60 Seconds").

Film stars "Hustle & Flow's" Taryn Manning as the streetwise Sage, a car thief who can throw a mean left hook and will only bedguys who cook dinner first. Her philosophy on life, particularly men, is that the world is an enormous barnyard. The minute you give it up for a guy, "you're a hog, wallowing and snorting in your own revolting slop." And that's the warm and fuzzy part of the movie.

After stealing a mint-condition '66 Dodge Charger, Sage drops her ID at the scene of the crime. Director Kari Skogland makes viewers eminently aware of this grievous error twice, perhaps on the assumption you've got to be pretty dim to be watching this film.

As it turns out, the Charger's owner really is a badass, just as it says on the license plate. Sage comes home to find her boyfriend's ear in an ashtray with a note demanding the car by midnight or else lover-boy turns to lunchmeat. But Mr. Badass (Christian Campbell) isn't your run-of-the-mill psycho. He's an uberpsycho and a hip DJ, who captures and tortures women, records their screams along with his accelerated heartbeat and then morphs them into techno rock tunes to play at local clubs.

The imaginative effort writer Kirsten Elms put into creating such a highly disturbing serial killer would have served the movie more had it been funneled into creating a realistic story with better dialogue. Never mind the gaping plot holes vis-a-vis law enforcement procedure. Elms' script is filled with axioms such as such as, "You had me at hand job," and "I'm going kick your ass if you don't kick my ass."

Not that explicit language is off limits for women (this is the network with "Talk Sex With Sue Johanson" after all), it just takes a certain panache that's missing here. The humor is off the mark, as are the perfs, so not much rings true.

Which makes the promise of thrilling car-chase scenes its last hope and biggest disappointment. Skogland's camerawork is erratic and confusing, with special effects used to little benefit far too late in the film. Similarly, the chameleon-like quality that makes Canada so attractive budget-wise robs the movie of any real atmosphere. The mean streets of Montreal don't elicit a gritty enough vibe here.

Mike Lombardi, who plays the rookie fireman on "Rescue Me," plays a rookie cop who's been tailing Sage on her recent crime spree. Despite her negative attitude and hostile behavior, he becomes enamored with her and forgoes all normal police procedure in doing so -- most egregiously in the final sequences.

Performing with the same scowl from scene to scene does not a tough chick make, although Manning does invoke what could easily be the evil twin of Susan Bradford from "Eight Is Enough." On the plus side, her makeup and scars are appropriately frightening.

Camera, David Franco; editor, Benjamin Duffield. Running time: 2 HOURS.
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crippled_avenger

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Novi Reni Harlin
« Reply #5 on: 23-05-2007, 15:44:30 »
Ovo je takodje zanimljivo posto je navodno ovaj covek o kome Renny vec godinama sprema filma bio bioloski tatko Kneza Pavla...

Renny Harlin to make his first film in Finland in 20 years
Jorn Rossing Jensen in Scandinavia
21 Feb 2007 16:40

 
 
Currently making Cleaner in the US with Samuel L Jackson and Ed Harris, Finnish Hollywood-director Renny Harlin will direct his first film in Finland for 20 years, a $15.8-18.8m (Euros 12m-14m) epic of Finnish historical legend CGE Mannerheim, a Swedish-speaking nobleman who served the Russian Tsar before returning in 1917 to become the father and later president of his country.

The Finnish-Russian co-production will be packaged by Finnish producer Markus Selin, of Solar Films, who co-wrote and produced Harlin's Born American, aka Arctic Heart, his 1986 Mike Norris starrer. Selin and scriptwriter Heikki Vihinen started the Mannerheim project nine years ago – "so hopefully we can start shooting on its 10th anniversary," said Selin.

With almost 50 titles to his credit, the producer, who has for the last four years delivered the number-one local blockbusters for the Finnish charts, expected another two countries to be involved in the film.


"Financing was less difficult than I had anticipated; Mannerheim is apparently as famous in Russia as he is in Finland," he observed.

Selin would not disclose further details of the production, which will be fully announced on Monday, June 4 during celebrations for Finland 's official army day in Helsinki.

Based in Los Angeles, where he runs his own production outfit, Midnight Sun Pictures, Renny Harlin has made 16 features in the US. Born American, which was banned in Finland - it was considered damaging to the country's relationship with its neighbour, the Soviet Union - became his ticket to direct such Hollywood films as Die Hard 2: Die Harder, Cliffhanger and The Long Kiss Goodnight. His next will be a thriller, Brodie's Law.
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crippled_avenger

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« Reply #6 on: 11-09-2007, 00:07:06 »
E ovo je za Trippa i za mene, da nas šlog udari odmah...

http://www.imdb.com/title/tt1087516/
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crippled_avenger

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« Reply #7 on: 11-09-2007, 00:09:28 »
No, evo i oficijelnog trejlera za novog Harlina

http://videos.cinemavip.com/informaciondecontenido.php?con=861
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crippled_avenger

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« Reply #8 on: 18-09-2007, 18:06:01 »
Cleaner
Allan Hunter in Toronto
17 Sep 2007 17:01

 
 

Dir: Renny Harlin US . 2007. 92 mins
Ten years have passed since the combination of Samuel L Jackson and director Renny Harlin was a guarantee of lively box-office action. Think The Long Kiss Good Night (1996) and Deep Blue Sea (1999). Harlin has steadily surrendered his A-list status and Jackson has shown an unhealthy appetite for guilty pleasure fare like The Man (2005) and Snakes On A Plane (2006). A reunion on the wearily familiar B-movie thriller Cleaner is not about to secure fresh acclaim for either of them. The combination of star names and brisk efficiency might be enough for Cleaner to pass muster as a home viewing choice but as a big screen attraction it has little to offer. A modest ripple on domestic release may even make a direct to dvd strategy more appropriate for some international territories.

Jackson is on typically commanding form as widower Tom Cutler, an ex-cop who now makes a living cleaning crime scenes and leaving homes spotless in the wake of a suicide, shooting or messy murder. There's an echo of television landmark Six Feet Under in his grisly occupation and early scenes of Cleaner have a certain snap and originality. On one job, Cutler is hired to clean away the blood and brains after a shooting. He returns the next day only to discover that owner Ann Norcut (Mendes) knows nothing of his visit and that her husband is missing. Given that the husband was a key witness in a wide-ranging trial involving police corruption the plot starts to thicken and obliges Cutler to call on his ex-partner Eddie (Harris) for assistance.

An uninspired mixture of old-fashioned private eye mystery and CSI-style whodunit, Cleaner never strays from a tried and tested formula. Thriller fans and general audiences are always likely to be one step ahead of what is happening and the script doesn't even have the decency to try and wrong-foot viewers or throw in a viable red herring or two.

This is straight down the line genre fare that is only elevated beyond the average by the sheer, indomitable professionalism of actors like Jackson and Ed Harris, who both work hard to convince us that we haven't been here a thousand times before. Their efforts are largely wasted on a formulaic screenplay devoid of suspense or surprises.

Jackson emerges with his dignity intact and if he ever felt the urge to make a television series Cutler's occupation could provide him with the perfect material. Cleaner could even stand as the feature-length pilot for such a venture.

The one star element in Cleaner is the snappy, staccato editing by Brian Berdan that manages to inject some pace and urgency into the proceedings. His work almost single-handedly manages to convince us that Cleaner is a better film than it turns out to be.

Director
Renny Harlin

Production Company/Sales
Nu Image (US)

US Distributor
Sony Pictures Entertainment (US)

Producers
Avi Lerner
Samuel L Jackson
Steve Golin
Alix Madigan-Yorkin
Michael P Flannigan
Lati Grobman

Executive producers
Eli Selden
Paul Green
Julie Yorn
Danny Dimbort
Trevor short
Joe Gatta

Screenplay
Matthew Aldrich

Cinematography
Scott Kevan

Production design
Richard Berg

Editor
Brian Berdan

Music
Richard Gibbs

Main cast
Samuel L Jackson
Ed Harris
Eva Mendes
Luis Guzman
Keke Palmer
Robert Forster
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crippled_avenger

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« Reply #9 on: 18-09-2007, 18:10:31 »
Toronto
Cleaner
By EDDIE COCKRELL
Samuel L. Jackson stars as a cleanup specialist in the Renny Harlin pic.
 
A Sony Pictures Entertainment release (in U.S.) of a Nu Image, Anonymous Content production. (International sales: Nu Image, Los Angeles.) Produced by Avi Lerner, Samuel L. Jackson, Steve Golin, Alix Madigan-Yorkin, Michael P. Flannigan, Lati Grobman. Executive producers, Eli Selden, Paul Green, Julie Yorn, Danny Dimbort, Trevor Short, Joe Gatta. Directed by Renny Harlin. Screenplay, Matthew Aldrich.
 
With: Samuel L. Jackson, Ed Harris, Eva Mendes, Luis Guzman, Keke Palmer, Robert Forster.
 
Scrub away a needlessly fussy visual style, trendy narrative tweaks and a climax both morally repugnant and logically absurd, and there's a tough little noir about buried transgressions coming out of the past in Renny Harlin's lackluster thriller "Cleaner." Too mainstream to attract genre interest, and too tangled in its character motivations to sit well with the multiplex crowd, this is a minor stain that should fade quickly and leave only faint traces in ancillary.
Former Trenton cop Tom Cutler (Samuel L. Jackson) now runs his own tidy little business, Steri-Clean, which specializes in "biomedical and biohazard abatement services." That is, whenever someone dies, Tom's hired to clean up the mess after the body's been taken away. When he's not mopping up bodily fluids, Tom's got his hands full raising young teenage daughter Rose (Keke Palmer) in the wake of his wife's murder.

Called to a crime scene in an upscale neighborhood, Tom does a typically efficient job of eradicating all traces of what looks to be a messy shooting. When he forgets to leave the key and returns to drop it off, he's startled to learn the lady of the house, Ann Norcut (Eva Mendes), has no idea what he's talking about. But her husband's gone missing ...

Thus begins a fitfully absorbing mystery that grows to involve Tom's ex-partner Eddie Lorenzo (Ed Harris), hostile force detective Jim Vargas (Luis Guzman) and shadowy figures within the city government who remember a time when Tom wasn't as honest or diligent as he is now.

Pic's father-daughter dynamic feels inflated, as does a brief religious thread. Ill-conceived climax swiftly undoes whatever genre traction had been gained to that point. Nevertheless, writer Matthew Aldrich displays a clear affinity for vintage Hollywood pictures, as evidenced by the noirish linkages of past sins and the screwball comedies Rose likes to watch on latenight TV.

Vet action helmer Harlin has made some terrifically brawny action pictures, including "Die Hard 2: Die Harder," "Cliffhanger" and "Deep Blue Sea." He's also been watching too much television, as "Cleaner" suffers from a distracting case of visual jitters and takes a "CSI" approach to fetishizing the messy nature of the human body.

Jackson's in a lower gear than usual, Harris brings his usual intensity to a role both complex and obvious, and Guzman gives the furtive turf wars in the cop sequences a welcome verisimilitude. Mendes makes a fine femme fatale, while Robert Forster is underutilized as a genial coroner.

Production values are high, led by Scott Kevan's clean widescreen lensing. As there's precious little sense of place throughout, Shreveport, La., fills in adequately for New Jersey.

Camera (color, widescreen), Scott Kevan; editor, Brian Berdan; music, Richard Gibbs; production designer, Richard Berg; costume designer, Susanna Puisto; sound (Dolby Digital), Jonathan Miller. Reviewed at Toronto Film Festival (Gala Presentations), Sept. 10, 2007. (Also in San Sebastian Film Festival.) Running time: 92 MIN.
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crippled_avenger

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« Reply #10 on: 23-09-2007, 21:34:48 »
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crippled_avenger

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« Reply #11 on: 25-12-2007, 01:12:47 »
Harlin je pošao Dragojevićevim stopama:

Renny Harlin's $15m Mannerheim to shoot in August 2008
Jorn Rossing Jensen in Scandinavia
28 Nov 2007 13:57

 
 
Finnish actor Mikko Nousiainen, who starred in local blockbuster The Restless will play Finnish historical legend Carl Gustaf Emil Mannerheim in a $14.7m (Euros 10m) biopic, which will mark the return to Finland of Finnish/Hollywood director Renny Harlin (Die Hard 2: Die Harder).

Principal photography for the film has been scheduled for August 2008. It will be staged as a Finnish-Russian co-production by Finnish producer Markus Selin, of Solar Films, who has secured $1.6m (Euros 1.1m) finance from non-film industry partners as well as backing from the Mannerheim Memorial Medal.

Scripted by Heikki Vihinen, Mannerheim – the largest feature film project so far in Finland - depicts the life of the Swedish-speaking nobleman, who served the Russian Tsar, before he returned to Finland in 1917 to become the father and later president of his country. Mannerheim was commander-in-chef of the Finnish army between 1939-1944.

"We have been working on the project since nine years ago when we agreed to collaborate with the Champion of Liberty Association to make a proper film about Mannerheim," Selin says. "First we planned for a major international epic with a foreign cast. When it was dropped we decided we wouldn't go low-budget, definitely not under €10 million."

"Financing was less difficult than I had anticipated; Mannerheim is apparently as famous in Russia as he is in Finland," added Selin, who has backed almost 50 features.
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crippled_avenger

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« Reply #12 on: 18-02-2008, 12:14:36 »
World Wrestling Entertainment and Fox Atomic are teaming for the $20 million action vehicle "12 Rounds" which Renny Harlin will direct says Variety.

Daniel Kunka's script centers on a New Orleans police detective (John Cena) whose girlfriend is kidnapped.

Steve Harris plays an FBI agent, Aidan Gillen is the kidnapper and Brian White plays a cop working with Cena's character.

Production starts February 25th in New Orleans, the first WWE Film to be shot in States-side. A 2009 release is planned.
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crippled_avenger

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« Reply #13 on: 19-02-2008, 13:37:17 »
It's a very unlikely story, nevertheless the British tabloids are reporting that Sylvester Stallone wants to revisit his rock-climber character Gabe Walker from 1993's "Cliffhanger".

One of Stallone's better action films outside of the Rocky/Rambo franchises, the original Renny Harlin-directed thriller took in $255 million worldwide off a $65 million budget and received praise for the two memorable action/suspense sequences that start the film.

Still, plans for a sequel in the late 90's were scrapped due to the star's dwindling box-office appeal. Now, with Rocky and Rambo having made successful returns, talk of the sequel entitled "The Dam" has apparently begun again over at Sony Pictures.
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crippled_avenger

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« Reply #14 on: 22-03-2008, 03:23:46 »
Pogledao sam CLEANER Renny Harlina, courtesy of Ginger.

Malo je reći da sam dugo očekivao novi film jednog od najomiljenijih reditelja. Iako od samog filma nisam previše očekivao, dobio sam još od manje od toga, štaviše ostao sam malo začuđen nad filmom.

Naime, CLEANER je film koji za razliku od COVENANTa koji je nesrećan na svoj način, na kraju cele priče nija imao čak ni naročitu komercijalnu satisfakciju pošto će tek u maju eventualno izaći u bioskope na nekim evropskim tržištima a dosadašnji skor u svetu mu je 100 000 dolara u Finskoj. Naravno, Avi Lerner je to radio i nema sumnje da on zna kako će se sve to isplatiti na kraju na videu i televiziji, a cast koji je okupljen oko ovog filma zaista ima veliku težinu čak i u Srbiji.

Ono što je bilo zanimljivo od starta vezano za ovaj projekat jeste da su se na njemu ujedinili kompanija Anoymous Content koja je najpre poznata po arty projektima i Avi Lerner. Ovo je delovalo kao match made in heaven pošto je sugerisalo da izvorni materijal, odnosno scenario Matthew Aldricha ima određeni kvalitet i potencijal a da je Avi samo tu da poturi leđa u finasijskom smislu.

Međutim, Aldrichev scenario je lošiji čak i od mnogih Avijevih solo produkcija, ispod nivoa stvari koje se rade za tivu i uopšte mi nije jasno kako de ovaj scenario prošao development, čak i u Arijevim uslovima. Naime, imao sam iskustvo rada na projektu koji je developovala Arijeva ekipa i znam da oni imaju vrlo jasne, uglavnom exploitation kriterijume kada oblikuju neki scenario, a te kriterijume ovaj scenario ne ispunjava.

CLEANER je prilično tupav, naivan i bezopasan triler, promašaj vrlo benigne prirode, koji u današnjim okolnostima, sa gledalačkim iskustvom koje ima čak i najprosečniji gledalac ne stoji.

Odlična podela sa Sam Jacksonom, Ed Harrisom, Evom Mendes, Luis Guzmanom i Robert Forsterom, čini da Rennyjev vrlo visok tempo koji nameće ne bude uzaludan, ali bezidejnost scenarija se probija kroz taj sveobuhvatni profesionalizam sa kojim je ovo snimljeno.

Naprosto ni glumcima ni Rennyju nije postavljen pravi izazov, sve se kreće u okvirima najmanje dinamične interpretacije opštih mesta, pa stoga ni tehnička veština sa kojom Renny to beleži ne uspeva da se nametne kao adut. Naprosto, svima su ruke vezane apsolutnim odsustvom scenarističke građe.

COVENANT je bio problematičan zbog svoje šuplje exploitation koncepcije fokusirane na niže ešelone omladine u kome Renny nije imao puno prostora pošro su video spotovi i specijalni efekti bili neka vrsta ready madea od kog je taj film sačinjen. Međutim, CLEANER je decentan ali isprazan film u kome Renny još manje ima šta da traži.

Naime, da je Cronenberg ovo snimio, CLEANER bi bio tretiran kao HISTORY OF VIOLENCE ili EASTEN PROMISES, i nije ništa slabiji od tih filmova. Međutim, od Rennyja se traže rezutati, adrenalin, on je kao reditelj uvek bio vrlo konkretan, a ovaj materijal mu nije ponudio ulogu za to.

Na kraju, čak se i svetska kritika koja je Harlinu slabo naklonjena slaže da je on jedna od jačih karika ovog minornog filma, pošto je svojom rediteljskom kultivisanošću uspeo da CLEANER učini gledljivim uprkos svemu.

Šteta je što se ovaj reteaming Rennyja i Sama ovako neslavno završio pošto su svi raniji bili senzacionalni.

* * / * * * *
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Kunac

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« Reply #15 on: 23-03-2008, 21:48:23 »
Ne bih da ponavljam napisano, potpisujem Cripplovu procenu.

RHu treba dobar scenario: asap! Čovek još uvek zna i može da zabiberi čorbu (Čistač izgleda odlično!), ali ako bude prihvatao projekte kao što je ovaj i prethodni, ode mu kraijera u svet filmova rađenih za DVD i kablovsku.

Šteta.
"zombi je mali žuti cvet"

crippled_avenger

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« Reply #16 on: 01-02-2009, 10:46:54 »
Taj dan je došao.

Evo novog trejlera za novi Rennyjev akcijaš 12 ROUNDS...

http://dobanevinosti.blogspot.com/2009/02/12-rounds-trailer.html
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crippled_avenger

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« Reply #17 on: 20-02-2009, 10:20:01 »
Finnish Film Foundation helps fund Harlin's homecoming, Mannerheim
Jorn Rossing Jensen in Scandinavia
18 Feb 2009 13:12

 
 

The Finnish Film Foundation (FFF) has awarded $567,000 (€450,000) of funding to Finnish director Renny Harlin's come-back to local filmmaking, the $12.6m (€10m) Mannerheim, which will be the largest feature film project ever staged in Finland.

The bio-pic stars Finnish actor Mikko Nousiainen as Finland's Carl Gustaf Emil Mannerheim.

Scripted by Heikki Vihinen and Marko Leino, Mannerheim depicts the life of the Swedish-speaking nobleman, who served the Russian Tsar, before he returned to Finland in 1917 to eventually become president of his country. He died in 1951.

Mannerheim is produced by Solar films' Markus Selin and Jukka Helle. Selin co-wrote and produced Harlin's Born American, also known a Arctic Heart, his 1986 Mike Norris starrer and ticket to Hollywood. Harlin has most recently completed 12 Rounds, which will be released by Fox.

Solar Films has collaborated with the Champion of Liberty Association to realise Mannerheim. Solar Films' co-owner, Nordisk Film, will handle local distribution, with TrustNordisk in charge of international sales.

Besides Mannerheim, the Finnish Film Foundation has allocated $5.8m (€4.6m) for nine local features, including another Selin-Helle production, Aleksi Mäkelä's Hellsinki (Rööperi), which was launched domestically six weeks ago and has so far exceeded 200,000 admissions.

Other recipients of FFF funding included Markku Pölönen (Dog Nail Clipper/Koirankynnen leikkaaja) for Suomen Filmiteollis' Rally On (Ralliraita), which is in post-production and Aleksi Salmenperä (A Man's Work/Miehen työ) for Sputnik's Bad Family (Paha perhe).

Mannerheim is ready to shoot, with principal photography scheduled to commence in March in Finland, Lithuania, Poland and Russia. The film will have its world première in Helsinki on January 15, 2010.
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« Reply #18 on: 16-03-2009, 12:02:59 »
Out doing promotions for "12 Rounds", director Renny Harlin ("CLiffhanger," "Die Hard 2") revealed that a sequel to his 1996 hit "The Long Kiss Goodnight" is in the works, but it may be a while off.

"You know I would love to [make the sequel] and I’ve talked about it but it’s definitely a rumour. Right now there’s nothing really cooking on it" said the Finnish director this week to Moviehole.

In the original, Geena Davis played spy Samantha Caine who lost her memory and became a housewife. Soon her real memories and skills start to re-emerge and Mitch Henessey (Samuel L. Jackson) gets pulled along for the ride as she hunts down those who tried to kill her.

The sequel would focus on Jackson alone and Harlin admits he has a story ready for it - "I do have a story line for it, that I worked out and I know exactly what would happen and I think it would be fantastic and I can reveal as much as saying it would be Sam Jackson to his misfortune crossing paths with Geena Davis's daughter from the first movie who in the first movie was about six years old and who would now be about 19 or 20."
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« Reply #19 on: 17-03-2009, 12:32:55 »
Story  
 
Renny Harlin's Finnish biopic Mannerheim delayed due to financing
Jorn Rossing Jensen in Scandinavia
16 Mar 2009 14:10

 
 
Finnish Hollywood director Renny Harlin's comeback to local filmmaking, the $12.6m (Euros 10m) Mannerheim, which was scheduled to have its world première in Helsinki on Jan 15 next year, has been delayed and is now expected to open during the autumn 2010.

The biopic of Finnish historical legend Carl Gustaf Emil Mannerheim was due to start shooting March 9 in Finland, Lithuania, Poland and Russia, but Solar Films producers Markus Selin and Jukka Helle had counted on  additional financing which failed to materialise.

”We will certainly finalise the budget, but it will take some time, and when everything is ready, we will still need three or four weeks for preparations. By then the snow will have melted,” explained Selin, who has been working on the project for 10 years.

Scripted by Heikki Vihinen and Marko Leino, Mannerheim – the largest feature film project staged in Finland so far – will be preceded by a novel about Finland’s national father figure, written by Finnish author Hannu Raittala and largely based on Vihinen and Laino’s screenplay.

Starring Finnish actor Mikko Nousiainen, the film depicts the life of the Swedish-speaking nobleman, who served the Russian Tsar, before he returned to Finland in 1917, later to be  president. The Finnish Film Foundation has chipped in $566,000 (Euros 450,000) for the production.

The winter shooting planned for this spring will now take place next winter. Solar Films has collaborated with Finland’s Champion of Liberty Association to package which will be domestically released by Solar co-owner, Nordisk Film, with TrustNordisk in charge of international sales.

Harlin, who was in Helsinki to discuss to discuss the new timetable, left for the US today (March 16) to promote his latest Hollywood movie, 12 Rounds, which Fox will release. His previous credits include Die Hard 2: Die Harder, Cliffhanger, Cutthroat Island and The Long Kiss Goodbye
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« Reply #20 on: 18-03-2009, 01:35:34 »
12 ROUNDS
SYNOPSIS:
When New Orleans Detective Danny Fisher (John Cena) finds himself in the wrong place at the right time to stop international thief Miles Jackson (Aiden Gillen) get away with a brief case full of stolen diamonds, Miles' girlfriend is accidentally killed. A year later, when Miles escapes from prison with revenge on his mind, he tracks down Danny, kidnaps his girlfriend Molly (Ashley Scott) and demands he completes 12 tasks in order save Molly's life.

Review by Louise Keller:
Aimed to keep your pulse rate pounding without the need to take a single gasp for air, this big-budget action thriller excels at dishing out a plot that's a bit like a chess game on speed. With Renny Harlin at the helm, you know exactly what you're in for, and deliver he does with an onslaught of booming stunts and a likeable hero in the shape of wrestling superstar Michael Cena. Between action pieces there's a ho-hum storyline involving Cena's conscientious detective, his kidnapped girlfriend (Ashley Scott) and Aiden Gillen's ruthless international arms dealer who delivers cryptic clues with high stakes. If you can cope with the constantly shaky camera work and hyperactive editing, 12 Rounds is an entertaining thrill-ride, especially if the side of your brain that does all the thinking craves a rest.

This is the first time Australian audiences have the chance to see Cena on the big screen (his 2006 screen debut, The Marine which was partly shot in Australia, was only released on DVD). He impressed then and he impresses now. A cross between Arnold Schwarzenegger and a beefed-up Matt Damon, every muscle of Cena's 6 ft 1in frame is put to use as he throws himself into harm's way during thrilling car chases, exploding lift shafts, out-of-control speeding street-cars and about-to-explode helicopters. Ideas have been borrowed and reworked from various sources: Mark Gordon, who is credited as one of the six producers, was also a producer for Jan de Bont's Speed, from where one key plot point may have originated.

The relationships between Cena's Danny, his girlfriend Molly and the Steve Harris' FBI agent are nicely drawn but unfortunately, largely due to implausible scripting, Gillen's evil revenge-seeking Miles is the film's weakest link (he seems to be everywhere and manages to execute intricate plots without going through the motions). Trevor Rabin's score is pitched precisely to accentuate the tension and excitement and if you're in the mood, hang in there for the tumultuous ride as Michael Cena heroically leads us through every round, one thrill at a time.
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« Reply #21 on: 22-03-2009, 11:58:00 »
by Jason Di Rosso

For a film about the hunt for an escaped terrorist set in post Katrina New Orleans, 12 Rounds is surprisingly devoid of any social or political commentary. Depending on your point of view, this is either refreshing news or proof you needn't waste your time.


Certainly, there's a feeling that there is no issue or character backstory important enough to slow the breakneck pace of this cat-and-mouse thriller that has John Cena playing a cop trying to rescue his girlfriend from the clutches of an international uber baddie (Aidan Gillen).


The action takes place over 12 set pieces: challenges set by the villain involving ticking bombs or runaway trains. Cinematically this is by-the-book multicam crash-and-burn spectacle that lacks originality but has spades of energy and a few truly suspenseful moments. Doesn't quite make it worth your time, though.

Director: Renny Harlin
Cast: John Cena, Aidan Gillen, Ashley Scott, J. Omar Castro, Travis Davis, Kyle Russell Clements, Taylor Cole, Kim Collins
Producer: Becki Cross Trujillo, Mark Gordon, Renny Harlin, Mike Lake, Josh McLaughlin, Vince McMahon
Script: Daniel Kunka
Cinematographer: David Boyd
Editor: Brian Berdan
Music: Trevor Rabin
Running time: 108
Australian distributor: 20th Century Fox
Language: English
Classification: M
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« Reply #22 on: 22-03-2009, 12:01:00 »
12 Rounds (Film)
by Andrew J McGlinn | March 17, 2009 15:42 | Edited March 17, 2009 15:43

Rating: PG

Running Time: 103

Country: USA

Director: Renny Harlin

Cast: John Cena, Steve Harris, Ashley Scott

Distributor: 20th Century Fox

Film Worth: $10.00

Release Date: March 19, 2009

“…an enjoyable yet standard action yarn…”

 

John Cena is hardly new to acting. After all, he's been around the world wrestling circuit for a number of years, winning the World Wrestling Entertainment Championship three times. Now, as with former top line wrestlers before him, Cena has ventured into the more orthodox method of acting, cutting his teeth in action related movies. After the mediocre The Marine, Cena's latest effort is upon us, and the results show promise.

 

12 Rounds is a glossily produced action thriller from Renny Harlin, a director who knows his way around an action movie set after delivering the likes of Die Hard 2 and Cliffhanger. The film tracks Detective Danny Fisher (Cena), who stops brilliant international thief Miles Jackson (Aidan Gillen) from getting away with a massive heist. Inadvertently, Fisher causes the death of Jackson's girlfriend. Cut to one year later and Jackson has managed to escape from prison and sets out to exact revenge on the hapless detective by kidnapping Fisher's fiance. He then puts Fisher through twelve tasks, hence the film's title, with each game violently mounting in intensity: if the detective succeeds, he may win his girl back.

 

Director Harlin has moulded an enjoyable yet standard action yarn. John Cena is limited as an actor, but he does look comfortable enough here amidst the highly energised action. The screenplay by Daniel Kunka is chock full of enormous holes, but the rambunctious energy (there are constant car chases, massive explosions and novel escapes) that Harlin brings to proceedings effectively covers them up. If you leave your brain in neutral, you should have a fairly enjoyable ride.
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« Reply #23 on: 28-03-2009, 12:00:07 »
New U.S. Release
12 Rounds
By ROB NELSONRead other reviews about this film

Powered By A 20th Century Fox release of a Fox Atomic presentation, in association with WWE Studios, of a Mark Gordon Co. production. Produced by Gordon, Josh McLaughlin, Michael Lake. Executive producer, Becki Cross Trujillo. Directed by Renny Harlin. Screenplay, Daniel Kunka.
 
Danny Fisher - John Cena
Miles Jackson - Aidan Gillen
Molly Porter - Ashley Scott
George Aiken - Steve Harris
Hank Carver - Brian White
Ray Santiago - Gonzalo Menendez
Erica Kessen - Taylor Cole
Dave Fisher - Kyle Clements
Willie Dumaine - Peter Navy Tuiasosopo
Anthony Deluso - Travis Davis
Samuel - Nick Gomez
  Known in the WWE ring as the "Dr. of Thuganomics," John Cena lacks even a bachelor of arts, to judge from his dropkick of a perf in "12 Rounds." Ludicrous pic casts Cena as a New Orleans cop whose fiancee is held hostage by an arms dealer with a grudge. Put through the titular paces, Cena's officer unsurprisingly prevails, while the viewer, even from a seated position, deserves a championship belt for surviving this overlong actioner. The film was withheld from critics before its wide opening, which should result in so-so B.O. for a weekend until the pic gets pinned.
Heavy on stunts but light on plausibility, humor, surprise, visual ingenuity or psychological depth helmer Renny Harlin's latest pic opens with cop Danny Fisher (Cena) hooking big catch Miles Jackson (Aidan Gillen) just after the crook's jewel-loving g.f. has fallen victim to the perils of a high-speed chase. Suffering from grief, or perhaps just humiliation, the psychotic Jackson busts out of prison and proceeds to set up a dozen elaborate punishments for the cop -- the first two of which have our hero losing his house and Molly (Ashley Scott), the love of his life.

One of the villain's taunts challenges Fisher to sprint or motor through New Orleans streets, including those in the city's hurricane-battered Ninth Ward. Notwithstanding its support of the Big Easy's economy, "12 Rounds" fully wears out its welcome during round five, which requires the cop to steer a fire truck at Indy 500 speed, causing predictably massive property damage and no acceleration of the viewer's pulse.

Oddly, only the final round, set aboard a medical helicopter, makes use of the wrestler's one discernible talent, even if the setting doesn't provide sufficient room for power-slamming.

Bulky Cena does a lot of running here, although Harlin breaks the heavier sweat by straining to keep pace with Paul Greengrass' "Bourne" pics. Jittery editing -- combined with the helmer's shaky-cam images, many seen through computer screens or other extraneous frames -- makes the movie very hard to watch, much less appreciate. Only a scene wherein Fisher scrambles to stop a brakeless streetcar raises one's heart rate.

"The Marine," Cena's bigscreen debut, also had his character suffering from a sweetheart's abduction, although typecasting should be the least of the actor's worries. To be fair, Cena performs as capably as any other cast member here save for George, the pug that plays Fisher's brilliant dog, Shortie.

More than one option(Person) Mark R. Gordon
(Person) Mark Gordon
Actor
(Person) Mark S Gordon
(Person) Mark Gordon
Assistant Camera, Assistant Director, Camera
(Person) Mark Gordon
Actor, Dialogue Editor, Executive Producer
(Person) Mark Gordon
Actor, SongMore than one option(Person) Danny Fisher
Editor, Editorial Assistant, Executive Producer
(Person) Danny Fisher
ActorMore than one option(Person) Ashley Scott
Actor
(Person) Ashley Scott
Hair Stylist, Makeup, Makeup ArtistMore than one option(Person) Nick Gomez
Actor, Assistant Editor, Casting
(Person) Nicholas Sean Gomez
(Person) Nick Gomez
Camera (color, Panavision widescreen), David Boyd; editor, Brian Berdan; music, Trevor Rabin; production designer, Nicholas Lundy; art director, Teresa Carriker-Thayer; set decorator, Leonard Spears; costume designer, Jill Newell; sound (Dolby Digital/DTS/SDDS), Paul Ledford; supervising sound editor/designer, Christopher S. Aud; visual effects supervisor, Raymond McIntyre Jr.; visual effects, Pixel Magic, Prime Focus, Frantic Films; special effects coordinator, Jeff Brink; stunt coordinator, Steven Ritzi; assistant director, Mary Ellen Woods; casting, John Papsidera. Reviewed at Regal Cinemas Brooklyn Center 20, Brooklyn Center, Minn., March 27, 2009. MPAA Rating: PG-13. Running time: 108 MIN.
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« Reply #24 on: 28-03-2009, 13:18:30 »
Film Reviews
Film Review: 12 Rounds
By Maitland McDonagh, March 27, 2009 06:47 ET
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Cast and CrewCast: John Cena (Actor), Becki Trujillo (Executive Producer), Aidan Gillen (Actor), Mark Gordon (Producer), Ashley Scott (Actor), Josh McLaughlin (Producer), Steve Harris (Actor), Renny Harlin (Director), Brian White (Actor), Daniel Kunka (Screen Writer), David Boyd (Director of Photography), Brian Berdan (Editor), Becki Trujillo (Unit Prod. Manager), Mary Ellen Woods (First Assistant Director), Nicholas Lundy (Prod. Designer), Teresa Carriker-Thayer (Art Director), Leonard Spears (Set Decorator), Jill Newell (Costume Designer), Jeff Brink (Special Effects), Paul Ledford (Sound mixer), Trevor Rabin (Music), John Papsidera (Casting director), Todd Williams (Unit Publicist)
Bottom Line: Wrestling star John Cena is the dead weight that drags down this brainless but energetic action picture.
NEW YORK -- In "12 Rounds," a fortuitous confluence of luck and pluck allows lowly New Orleans beat cop Danny Fisher (John Cena) to arrest infernally clever Irish arms dealer Miles Jackson (Aiden Gillen), who's been leading the FBI a merry chase for three years. It's a shame Miles' daredevil girlfriend died in the process, but it was more Miles' fault than Danny's: If Miles hadn't told her to run, she wouldn't have been pasted by that oncoming car.

That is not, of course, how Miles sees it. By the time he breaks out of a jail a year later, he's masterminded a diabolical plan to make Danny, now a detective, pay ... and pay and pay some more.

Miles blows up Danny's house and car, kidnaps his lovely girlfriend, Molly (Ashley Scott), and orchestrates an escalating series of tests and puzzles via taunting cell phone calls. If Danny can survive 12 rounds of the game, Miles promises to let Molly live. If Danny fails, it's an "eye for an eye" time and Molly dies.

Danny has the enthusiastic support of his partner and best friend (Brian White) and the self-serving assistance of an FBI team led by arrogant agent George Aiken (Steve Harris), who's still steamed over having lost the opportunity to collar Miles himself.

Daniel Kunka's script delivers plot twists galore, but the film's adrenaline-injected action set pieces trump narrative logic every time. Director Renny Harlin, who once presided over such major studio event-pictures as "Die Hard 2" and "Cliffhanger," knows how to wrangle screaming fire engines, cop cars and helicopters, so any scene involving criminally reckless driving on crowded city streets or theft and destruction of private and public property crackles. Character development, however, has never been Harlin's strong suit, so the cast is left to fend for itself.

Irish actor Gillen, who suggests a curious mix of Richard Gere and Gary Oldman, brings a devious sparkle to smirking sociopath Miles, who seems on the verge of breaking into a wee jig every time he sets Danny another apparently impossible task. If Cena were half as charismatic, Danny and Miles' turbo-charged cat-and-mouse game would be a real blast. But Cena is no Jason Statham. His stolid seriousness sucks the life right out of any scene in which he's required to speak. It's a bad sign when you repeatedly wish a runaway trolley would silence the hero.

Opened: Friday, March 27 (Fox)
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« Reply #25 on: 28-03-2009, 23:24:23 »
12 Rounds director Renny Harlin helmed the second Die Hard movie, but this film is really a carbon copy of that franchise's third entry — 1995's Die Hard With a Vengeance — in which Bruce Willis' cop raced around New York attempting to complete an array of tests set up by vengeance-seeking villain Jeremy Irons. Here the cop is real-life wrestler John Cena, who must race around New Orleans attempting to complete an array of tests set up by a vengeance-seeking villain played by Aidan Gillen (The Wire). Alas, Gillen is no Jeremy Irons. And Cena is certainly no Bruce Wills. He looks and acts like a Bizarro World Matt Damon who has spent more time picking up weights than scripts. The production must be given credit for filming in the still-recovering-from Katrina New Orleans and Harlin makes good use of both the architecture of the city and of his formidably muscled leading man. But you will probably find yourself praying for this duel's knock-out punch to arrive long before it actually does. C
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« Reply #26 on: 31-03-2009, 17:34:37 »
...pojavio se veoma kvalitetan Telecync (zapremine 2 diska) 12 ROUNDS. Darodavac - STG.
"...get your kicks all around the world, give a tip to a geisha-girl..."

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« Reply #27 on: 04-04-2009, 11:04:57 »
Posle dužeg vremena, latio sam se bioskopske kopije, solidne ali ipak bioskopske, kako bih zadovoljio bloodlust povodom novog filma Rennyja Harlina.

U svakom slučaju, 12 ROUNDS je rennyjev povratak onome što najbolje radi, a to je akcija. Posle lutanja sa COVENANTom i CLEANERom koji su imali tek izvesne dodirne tačke sa dosadašnjim Rennyjevim radom, 12 ROUNDS je punokrvni, visokooktanski akcijaš.

Renny u Holivudu više ne važi za prvu rediteljsku ligu o čemu svedoči to da je 12 ROUNDS film od 22 miliona dolara, sa rvačem John Cenom u glavnoj ulozi i scenarijem Daniela Kunke koga ne mogu da tuže za ripovanje SPEEDa, DIE HARD WITH A VENGEANCE i POINT BREAKa samo zbog toga što su to sve Foxovi propertyji kao i sam 12 ROUNDS.

Međutim, kada se sve ovo uzme u obzir, 12 ROUNDS je pošten akcijaš kakav paradoksalno odavno nismo gledali. Naime, ako imamo u vidu budžet, Renny je prevazišao konkurenciju ovog tipa. Iako i filmovi poput CRANKa koštaju približno slično, oni pokušavaju da nadoknade svoju budžetsku svedenost nekim quirky detaljima. Nei 12 ROUNDS koji hrabro stupa vrlo ozbiljno tamo gde su stupali DIE HARD WITH A VENGEANCE, SPEED i POINT BREAK, bez ikakve ironije, napornog humora i sl.

Film je prepun akcije, izuzetno je dinamičan, iako je oslonjen na klišee, oni ne smetaju jer Renny sa neverovatnom lakoćom izlaže priču. Što se odnosa budžeta i onoga što isporučuje film tiče, 12 ROUNDS je apsolutno u ravni skupljih filmova ovog tipa.

John Cena u glavnoj ulozi izgleda, kako ga je jedan američki kritičar definisao, kao Matt Damon izobličen od steroida, i svakako da bi neki harizmatičniji glumac bio bolji za ulogu akcionog heroja, neko kao Jason Statham recimo bi sigurno uzdigao ovaj film. Međutim, u kontekstu ovolike količine akcije i tempa, Cena funckioniše pošto uglavnom ćuti i radi. Upravo je Statham karakterističan po takvim ulogama, i Cena sa njim deli još jednu karakteristiku a to je povratak čiste mišićne mase na ekran. Međutim, dok je Stathamovo telo brižljivo oblikovano, Cena deluje kao produkt steroida, i to dosrta neistesan, no s druge strane, vraća jedan od dragih aduta 80s akcionih heroja a to je čista fizička snaga junaka koja povremeno zaigra. To odavno nismo videli.

Što se Rennyjeve režije tiče, ona je najbliža Peter Bergovom multi-cam pristupu, o čemu svedoči i angažovanje David Boyda, DPa koji radi Bergovu seriju FRIDAY NIGHT LIGHTS.

Pa ipak, same akcinoe sekvence su vrlo old school po svojoj koncepciji i Renny zaista uspeva da mudro spoji old school i nu school i da iz žongliranja sa velikim brojem pozicija i pokreta kamere napravi delo velike energije.

Što se bioskopske sudbine filma tiče, otvaranje od 5 miliona nije bilo senzacionalno, no trenutna konkurencija je prejaka, film nije prikazan kritičarima, i izašao je u relativno malo sala. Međutim, posle DTV distribucije CLEANERa za Harlina je dobro da se vratio u theatrical milje.

* * * / * * * *
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« Reply #28 on: 04-08-2009, 10:21:54 »
Crni Renny

Renny Harlin has been set to direct an untitled drama based on actual events that took place during the five-day Russia-Georgia conflict.

The short war began Aug. 8, 2008, when Georgian forces attacked the border territory in South Ossetia. Russia recognized the territory's independence and subsequently routed Georgian forces; tensions have remained high ever since.

Harlin will shoot the film in areas near the conflict. Pre-production is already under way, as is casting, for a mid-September shoot. The film will be made on a budget far less than Harlin is accustomed to, with financing put together by Rex Films' George Lascu and Michael P. Flannigan, who will produce with Harlin and David Imedashvili.

Harlin said the plot specifics are being kept under wraps for security reasons, but the drama involves an American journalist and his cameraman who get caught in the crossfire in Georgia and then have to deal with their obligation to be impartial journalists.

The subject matter is a decided departure for the Finnish-born director, who is best known for helming popcorn thrillers like "Die Hard 2," "Cliffhanger" and "Deep Blue Sea." Turns out Harlin's a closet aficionado of arthouse films, and he said he has waited his whole career to sink his teeth into a serious film."I've waited a long time to find something with substance and reality," Harlin said. "I thought I had that in 'Mannerheim,' this historical epic on the Finnish war general who led Finland against Russia in 1939, but the financing fell apart. When I got this script two weeks ago, it was exactly what I had been looking for, a great human story, with tragic, serious overtones. I saw it as my opportunity to use my experience in action films to tell the story of a complex conflict that is impartial but makes a strong antiwar statement."

When he began his Hollywood career producing the critical favorite "Rambling Rose" in 1991, he planned to direct films with similar sensibilities.

Commercial success took him in a different path.

"I want to make a film that says something about the human condition, and even if only a few people see this and feel its impact and its antiwar message, then I will have done something that's important and I will be proud of it," he said.

Mirza Davitaia and Dyndy Kuipers are executive producers.
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Re: Novi Reni Harlin
« Reply #30 on: 07-08-2009, 16:59:08 »
ja sam siguran da bi reni ovaj scenario režiro!

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Re: Novi Reni Harlin
« Reply #31 on: 07-08-2009, 19:23:09 »
Setio sam se jednog teksta koji sam davno pisao na ovu temu:

Producenti iz pakla

Najave da Gadafi priprema svoj scenaristički i producentski debi na filmu, može da posluži kao dobar povod da vidimo kako su se predstavnici raznih diktatorskih i totalitarnih režima odnosili prema filmu, a naročito da obratimo pažnju na neke manje poznate filmofile među tiranima.

Sovjetski, nacistički i titoistički film

O ozbiljnom shvatanju filmskog medija u komunizmu i nacizmu danas znamo gotovo sve. Ove ideologije su podstakle autore da stvore neka od ključnih dela sedme umetnosti koja su, kao u slučaju Olimpije i Trijumfa volje Leni Rifenštal ili Oklopnjače Potemkin Sergeja Ejzenštajna prevazišla okvire svoje primarne propagandne funkcije i izučavaju se kao umetnička dela čiji domet prevazilazi čak i okvire filma i čini ih delom sveukupne kulturne baštine.

Ipak, pristup filmu u nacizmu i komunizmu se razlikuje po tome što je nacizam filmskoj propagandi prilazio hladne glave, obraćajući podjednaku pažnju na sižee i vizuelnu ekspresiju, bez ikakvog ustručavanja da se prate svi savremeni filmski tokovi. Samim tim su posle rata autori nacističkog filma kao Leni Rifenštal i Fajt Harlan i tretirani kao hladnokrvni propagandisti i završili su čak u Nirnbergu. Gebels je bio veliki filmofil i smatrao je da su filmovi koj će Treći Rajh ostaviti za sobom čak i važniji od vojnih pobeda.

U sovjetskom filmu međutim, postojala je snažna tradicija umetničke avangarde koja je imala puno veze sa korenima komunističkog pokreta i samim tim je i njihov film uvek bio ideologizovan na poseban način. Tako su recimo sovjetski autori u svojim manifestima umeli da zvučni film nazovu kapitalističkom podmetačinom, i svoj umetnički rad su stvarali razapeti između političkih zahteva i avangardističkih manifesta. Stoga, sovjetski film je izgubio korak i kanonski period njihovog propagandnog filma nudi filmove jako promenljivog kvaliteta.

Konačno, kinemaoigrafija titoizma mogla se definisati kao jugoslovenska imperijalna kinematografija. Kada pogledamo produkciju filmova nastalih u periodu titoizma videćemo da je naša tadašnja produkcija obuhvatala čitav spektar žanrova i pravaca, od plakatske propagande do disidenata, od istorijskog akcionog filma do problemske drame, od populističke komedije do ekranizacije čuvenih književnih dela, čime ja zapravo naš film mogao da zadovolji sve potrebe gledalaca. Kada znamo kakvu smo kinematografiju imali sa stidom možemo da gledamo naš savremeni srpski film koji je voljom svojih oligarha i festivalske pseudoelite sveden sa jedne imperijalne kinematografije na nivo trećesvetske marginalne produkcije koja traži svoje mesto u zapadnom supermarketu filmske egzotike. 

Generalisimus Franko

Generlisimus Franko je u izvesnom smislu jedan od najzalužnijih ljudi za razvoj španskog filma. Tokom njegove vladavine španska kinematografije je imala vrlo jasnu konzervativnu liniju a sve zabrane su samo osnaživale andergraund koji će posle demokratizacije bukvalno izbiti na ekran i pokoriti čitav svet. Filmovi iz frankističkog perioda ne zauzimaju značajno mesto u istoriji ali pokazuju solidan nivo zanatske kompetenecije i smatram da bi se i među nima neka ostvarenja mogla revalorizovati.

Posle Frankovog odlaska sa vlasti, u Španiji je ukinuta cenzura a film je doživeo neočekivanu ekspanziju, sa pojavom potpuno apartnih autora kao što je recimo Pedro Almodovar.

S druge strane, Frankov režim je u Španiji odgajio mentalitet imperijalnog filma tako da pored art filma, ova kinematografija nikada nije prestala da proizvodi i repertoarski film raznih žanrova kako bi zadovoljili lokalni bioskopski repertoar. Stoga, danas je Španija sa autorima poput Santijaga Segure, Alehandra Amenabara, Aleksa De la Iglesije, Haume Balagera ili Mateo Hila supersila i u sferama bioskopskih blokbastera.

Sam Franko je 1942. godine učestvovao u nastanku filma Raza snimljenog po njegovom programskom romanu o španskoj istoriji. Iako se ovaj film smatra potpuno minornim u estetskom smislu, stekao je kultni status, i njegovi protivnici smatraju da je Raza španski filmski Majn Kampf.

Nažalost, Franko praktično nije bio junak naročito važnih filmova i za sada ga nije igrao nijedan poznati glumac.
 
Slobodan Milošević

O Miloševićevom odnosu prema filmu se ne zna mnogo. U jednom intervjuu je na pitanje koji mu je omiljeni film odgovorio – Bolji život. Iako je imao pristup svim blagodetima Belog Dvora nikada nije revitalizovao bioskopsku salu koja je u njemu postojala već je navodno Titanik gledao sa presnimljenog VHS pirata.

Ipak, Miloševićeva vladavina ostaće zapamćena po priličnom liberalizmu u svetu filma, i kreativnim vrhuncima koji posle nisu dosegnuti u danima posle Petog oktobra. Ne samo da su za Miloševićeve vladavine snimljeni klasici kao Lepa sela lepo gore i Rane, već je srpski film osvojio i Zlatnu palmu za Kusturičino Podzemlje.

Koliko god da Miloševića nije zanimao film, očigledno je da su za vreme njegove vladavine opstali izvesni impulsi iz vremena komunizma u kome se film naročito cenio.

Producent iz pakla

Najveći i svakako nazanimljiviji filmofil među savremenim apsolutistima jeste Kim Džong Il. To ne treba da čudi pošto je Severna Koreja ipak jedini preživeli staljinistički režim na svetu a zna se koliko su Sovjeti voleli i cenili film. Kim Džong Ilova filmofilija je usotalom kao i njegova vladavina svakako i najbizarnija.

Naime, prvi znaci ozbiljne filmofilije javljaju se još za života njegovog oca Kim Il Sunga. Naime, u tom periodu, Kim Džong Il je kao prvi čovek iz senke bio arhitekta otmice najvećeg južnokorejskog reditelja Šin Sang-oka.

Šin Sang-ok se smatra rodonačelnikom savremenog južnokorejskog filma i njegov rad je učinio da se ova kinematografija nametne i u regionalnim i u internacionalnim okvirima. 1978. godine Šin-Sang-ok se razveo od svoje supruge Čoe Eun-hui koja je bila velika južnokorejska filmska zvezda. Ubrzo potom, ponuđena joj je uloga u Hong Kongu. Kad je otputovala na pregovore u Hong Kong ispostavilo se da je to bila klopka koju je namestila severnokorejska tajna služba u i Čoe je oteta.

Njenom otmicom Šin je ucenjen da dođe u Pjongjang. Tu mu je Kim Džong Il izložio plan da želi da Šin započne preporod severnokorejske kinematografije. Iako je bio smešten u vrhunskom komforu, Šin je pokušao da pobegne. Pošto mu to nije uspelo, odveden je u gulag gde je proveo pet godina. Tek 1983. vraćen je u Pjongjang i počeo je da radi na misiji koju mu je Kim zacrtao. Iz severnokorejske faze Šinove karijere ostaće zapamćen film Pulgasari, koji je severnokorejska verzija Godzile, u kojoj se kroz priču o velikom monstrumu iz doba feudalizma zapravo izlaže metafora o radničkoj borbi severnokorejskog naroda. Na ovom filmu su radili japanski stručnjaci za specijalne efekte koji su radili izvorne Godzile, i ovo ostvarenje danas ima kultni status među ljubiteljima bizarnog kult filma.

Šin i Čoe su uspeli da izbegnu iz Severne Koreje 1986. godine tako što su u Beču uspeli da se otmu od obezbeđenja i stignu do američke ambasade i uzmu politički azil. Pošto se Šinu nije verovalo da je bio otet već se mislilo da je dobrovoljno otišao u Pjongjang kako bi izbegao stečaj svoje kompanije u Seulu, jako dugo nije smeo da se vrati u domovinu. Međutim, Šin je Zapadu doneo prve audio snimke Kim Džong Ila tako da su stručnjaci obaveštajnih službi imali priliku da čuju njegov glas i naprave neku vrstu psihološkog profila.

Kim Džong Il važi za velikog kolekcionara filmova. Ima kolekciju od oko 20 000 video kaseta. Navodno, obožava horor serijal Petak trinaesti, a rado gleda i Ramba, Džejms Bonda i Godzilu. Najomiljenija glumica mu je Elizabet Tejlor, međutim za razliku od Tita nije imao čast da je ugosti. Kim Džong Il je čak pored filmske prakse sklon i teoriji, tako da je napisao i knjigu pod naslovom O filmskoj umetnosti.

Kad je reč o scenarističkom angažmanu, Kim Džong Il je sarađivao na scenariju za film Dnevnik učenice koji prikazuje život devojčice čiji su roditelji naučnici. Severnokorejski izvori kažu da je Kim unapredio scenario i nadgledao produkciju.

Inače, Kim i dalje ima ozbiljne ambicije sa korejskim filmom. 1999. godine je naredio svojoj tajnoj službi da mu iz Južne Koreje donese tada aktuelni akcioni hit Širi, o čijem internacionalnom uspehu najbolje govori činjenica da i u Srbiji može da se kupi na DVDu. Kada ga je pogledao, insistirao je da se revitalizju severnokorejski filmski studiji, koji su inače poznati po tome što je u njima izgrađena replika Seula u kome se uglavnom nalaze javne kuće, noćni barovi i ostali simboli dekadentnog života u Južnoj Koreji.
Kim Džong-Il nažalost za sada nije imao sreće sa prikazima na filmu. Severna Koreja je doduše prikazana kao nadmoćna vojna sila u Bond filmu Umri drugi put, ali sam Kim Džong Il je ismejan u filmu Team America: World Police koji su radili autori South Parka. Naime, u ovom lutkarskom filmu, Kim Džong Il je karikaturalno prikazan kao patuljasti diktator koji želi da zavlada svetom.
U poslednjoj poznatoj rezoluciji vezanoj za film, Kim je naredio da se ozbiljno počne sa radom na animiranim filmovima.
Film Trećeg puta
Ljubimac javnosti koja još uvek veruje u ideju progresa, venecuelanski predsednik Hugo Čavez, u nekoliko navrata je bivao povezan sa raznim filmskim projektima. Pošto se sa Oliverom Stounom u principu složio o tome šta je dovelo do 11. septembra, Čavez je ubrzo počeo da najavljuje kako će baš Oliver Stoun, reditelj političkih klasika kao što su J.F.K., Nikson i Salvador režirati priču o neuspelom puču 2002. godine koji je pokušan u Venecueli protiv Čaveza. Međuitim, Stoun je negirao ovu priču a Čavez je potom insistirao na tome da je američka država direktno pomogla puč i opstruirala film.
Ipak, Čavez ima simpatije mnogih holivudskih krugova. On je blizan prijatelj sa poznatim glumcem Debnijem Gloverom (Smrtonosno oružje) i Venecuela će finansirati dva njegova filma. Jedan će biti biografija Simona Bolivara, po romanu Gabrijela Garsije Markesa a drugi o Tuisanu Loverturu, vođi haićanske pobune robova koja se smatra jednim od ključnih događaja u istoriji antikolonijalne borbe. U filmu o haićanskoj pobuni, Glover je uspeo da okupi kren afroameričkog glumišta i zvezde kao što su Don Čidl, Ejndžela Beset i Mos Def. U filmu je trebalo da igra i najradikalniji crnački nacionalista u Holivudu Vesli Snajps, međutim, zabranjen mu je izlaz iz zemlje zbog utaje poreza.
Konačno, Muamer El Gadafi najavljuje svoj scenaristički debi na filmu sirijskog reditelja Najdata Anzura. Za razliku od Kim Džong Ila koji voli poučnu melodramu, Gadafi po uzoru na Franka radi istorijski film o italijanskom kolnijalizmu u Africi, i Libiji u razdoblju od 1911. do 1943. godine. Ova tema je već obrađena u skupoj libijsko-američkoj koprodukciji Pustinjski lav iz 1981. godine, koju je režirao Mustafa Akad, inače producent serijala Noć veštica, koji je nažalost nedavno poginuo u terorističkom napadu u Amanu. Međutim, taj film je naišao na bojkot i otpor italijanskih vlasti tako da nije ispunio svoju propagandnu funkciju.
No, u duhu svog tolerantnog stava saradnje sa Evropom, Gadafi najavljuje film koji će staviti veći akcenat na istoriju i neće širiti nacionalnu mržnju. Imajući u vidu otopljavanje odnosa sa Zapadom, posle razrešenja afere Lokerbi i slučaja bugarskih medicinskih sestara, Gadafi verovatno govori istinu. Za razliku od mnogih pravih filmskih producenata.
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crippled_avenger

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Re: Novi Reni Harlin
« Reply #32 on: 07-08-2009, 19:47:34 »
Evo i moje reakcije na `klevetnicki` tekst :)

http://dobanevinosti.blogspot.com/2009/08/uspavani-dzin.html
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crippled_avenger

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Re: Novi Reni Harlin
« Reply #33 on: 28-10-2009, 18:35:50 »
Emmanuelle Chriqui and Val Kilmer have joined the cast of the Renny Harlin-directed "Georgia" for Rex Films says The Hollywood Reporter.

Set against last year's military conflict between Russia and Georgia, the story involves an American journalist (Kilmer) and his cameraman caught in the crossfire and a Georgia native (Chriqui) and doctoral student who becomes entangled with them. Andy Garcia also stars.

Harlin, George Lascu, Michael P. Flannigan and David Imedashvili will produce. Shooting has been underway in Georgia for several weeks.

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crippled_avenger

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Re: Novi Reni Harlin
« Reply #34 on: 13-02-2010, 12:41:57 »
Director Renny Harlin has seen a lot -- and shot almost as much -- since breaking out of his native Finland with the action film "Born American" in 1986. He's seen his name spelled out in fireworks over the skies of Cannes for the release of the Sylvester Stallone blockbuster "Cliffhanger," seen his films like "Die Hard 2" top the box office charts around the world and he's seen the other end of the charts with large-scale misfires like "Cutthroat Island."

Now he's made a torn-from-headlines thriller called "Georgia" that Harlin calls "the fulfillment of a dream I had."

Set in Georgia during the brief but horrifically violent conflict with Russia less than two years ago, Harlin likens the project to his experience making "Ramblin' Rose," in that it is "one of those projects that are smaller and very interesting but very hard to put together in Hollywood." Thanks to producers George Lascu of Rexmedia and Mirza Davitaia, Harlin got his dream project together and was bringing the result to the current European Film Market in Berlin last week in the form of a 15-minute promo reel.

And thanks to the assistance of the Georgian authorities, Harlin can boast that in this big-scale actioner "there is no CGI" and that what's on the screen -- a sky filled with real jets and helicopters, dozens of battle tanks and thousands of extras -- is real.

It has the breathtaking beauty of the country as well as re-creations of the devastation that look remarkably like a country being torn apart by war.

Harlin's budget on "Georgia" was a little over $12 million; cast includes Val Kilmer, Andy Garcia and newer names like Rupert Friend and Emmanuelle Chriqui.

"There are so many problems in the world today that I think an adventure film on the subject is perhaps better than a documentary, because it means that viewers can get drawn into the human story but come away learning something that isn't on page one of the newspapers this week."
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Tex Murphy

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Re: Novi Reni Harlin
« Reply #35 on: 13-02-2010, 12:55:38 »
Nešto mi se čini da će u tom filmu Rusi biti negativci.

crippled_avenger

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Re: Novi Reni Harlin
« Reply #36 on: 13-02-2010, 13:02:52 »
Pa pazi, Finac režira, dakle verovatno hoće :)
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crippled_avenger

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Re: Novi Reni Harlin
« Reply #37 on: 09-03-2010, 12:02:33 »
Renny Harlin’s long awaited Finnish project Mannerheim gets shoot date and location change


After more than 10 years of preparations, Finnish Hollywood-director Renny Harlin’s come-back to local filmmaking – the $18m (€13m) Mannerheim, Finland’s most expensive feature to date– is finally scheduled to commence principal photography at Hungary’s HCC Studios in September.

The production was twice suspended last year, as Danish financiers pulled out.

However Finnish producer Makus Selin, of Solar Films, confirmed it is back on track with support from German producer Harald Reichebner’s Global United Entertainment. Originally planned for Lithuanian facilities, shooting has moved to Hungary after HCC Media Group entered the project, along with Poland’s Donten & Lacroix and Iceland’s Kisi. The film is due to be released worldwide in November 2011.

Scripted by Heikki Vihinen and Marko Leino, and starring Mikko Nousiainen, Mannerheim portrays Finnish historical legend Carl Gustaf Emil Mannerheim – a Swedish-speaking nobleman, who served the Russian Zar, before he returned to Finland in 1917 to become the father and later president of his country 1944-1946. He died in 1951. Selin and Jukka Helle will produce for Solar subsidiary, Liberty Production; Finnish commercial broadcaster MTV3 Finland has signed for local TV rights.
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Kunac

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Re: Novi Reni Harlin
« Reply #38 on: 09-03-2010, 12:46:58 »
Harlin ide Verhoevenovim stopama... Vraća se kući. Nadam se da će rezultat biti zadovoljavajuć koliko i Crna knjiga.
"zombi je mali žuti cvet"

crippled_avenger

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Re: Novi Reni Harlin
« Reply #39 on: 09-03-2010, 19:43:20 »
Ili kao Verhoeven ili GEORGIJE. Videćemo. No pre toga, čeka nas Gruzija...
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crippled_avenger

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crippled_avenger

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Re: Novi Reni Harlin
« Reply #41 on: 14-12-2010, 12:19:18 »
Međutim, najjače je kad se umešao Kusta

О фильме Рене Харлина "Грузия"
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crippled_avenger

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Re: Novi Reni Harlin
« Reply #42 on: 14-12-2010, 12:29:25 »
The Poet Trapped In
The Body Of A Warrior
Renny Harlin
 
On the rooftop of 73 Market Street Venice just yards away from the beach in California, The Business of Film caught up with Renny Harlin, director of Georgia, the epic tale of the war between Georgia and Russia, produced by US based Rex Media. Mention Renny Harlin and the mind springs to hard core action thrillers like Die Hard 2: Die Harder and Cliffhanger, which established his name. But is there another side to Renny Harlin that fans of his work as a director and fans of his films don’t know? Looking relaxed and positioning his chair to take advantage of the afternoon sun, he mentally kicked back and in a candid and enlightening conversation with Elspeth Tavares shared his immense passion for directing, living and working in Hollywood, and how in spite of his friend Bob Shaye’s warning he smoked the drug that is Hollywood for a time. Revealing the real Renny Harlin, he shares his profound thoughts, the essence of his individuality, and how the moment Georgia was brought to his attention by his new agency UTA, he knew he was destined to make the movie.

ELSPETH TAVARES: What were the deciding factors in your decision to direct the independent movie Georgia?

RENNY HARLIN: I changed agencies about a year ago, with the goal to receive better and more mature material. I have been in Hollywood for 25 years and I’ve made different kinds of movies, but I am known as an action/thriller director, so I get the films that circulate around town, and many are frankly not good. The mandate when I joined UTA was for them to find me something, it could be a small or big picture, but it had to be something that I would feel motivated to make. My agent Charlie Ferraro and George Lascu of Rex Media were meeting over breakfast, and George who is the US producer on Georgia told Charlie they were looking for a director. Charlie said, “I have the perfect guy for you – Renny Harlin.” George’s first reaction was “Would he be interested in this kind of topic?” Although the picture is an epic, it’s an independent movie and he questioned whether ‘Renny Harlin’ would be interested in a ‘small’ independent movie. Charlie said, “Meet him.” Like most people, I knew of the war in Georgia from the news, so I met George, and the moment he told me more about the movie, I knew this was the movie I have been waiting practically all my life to make. It gave me the opportunity to take all I have learned in terms of action and big visuals, and put it into a framework that actually means something. It was exactly what I had told my agent, I needed something of substance in my life, which may sound highfalutin and out there, but I honestly love making movies, and I wanted and needed something that my heart could invest in. I called Charlie and told him to do what deal we could because I was making this movie. I think it also has to do with the fact that last summer Mannerheim, a movie I had developed for 10 years fell apart two weeks from shooting, and Mannerheim is similar to Georgia. It’s Finland’s struggle against a super power and it’s also a war movie. I felt I could take all that passion, preparation and put it into making Georgia, which was why I was sure the instant I made the decision that I was going to make this movie no matter what. There were many challenges, putting the script together with Mikko Alanne who was the perfect guy, from the blueprint they had. Added to that we had very little time. It was now late July, and the events take place in summer at the beginning of August, so we had to have the script, prep the movie and shoot before the winter. I did a lot of research and headed to Georgia. My passion for the movie intensified when I arrived in Georgia and saw the locations and met the local people – the refugees, politicians and journalists who had covered the war. I fell in love with the country.

ET: Let’s go back to your having been in Hollywood for 25 years. You made a lot of movies and continued to get the same scripts because you were pigeonholed. Aside from taking the step to change your agent, why do you think that happened?

RH: It’s simply the way Hollywood works, once you have success in a genre, you are considered just an action, drama, or comedy film director. The truth is, and the studio executives themselves will admit it, when movies are greenlit, it’s almost the ‘luck’ of the draw. They try to maximize the chances of success by using the last success of the director in that genre, on the basis that “we don’t really know why that movie was a success so let’s use him because he had a success so he must know or have ‘something’ and we will repeat the formula as well as we can.” Currently there are comic book movies, the video games, and the re-makes because one, two and three worked, so we will keep making those movies until something goes horribly wrong. The Hollywood adage is: let’s keep repeating the same people and make the same films and maybe that will continue to lead to success.

ET: For an industry that’s continually on the cutting edge of creativity, it would seem that the executives making the decisions are not creative people. Working in the system as you have, is that too critical a comment?

RN: There are a few smart successful executives but the majority are not creative people with vision. Almost every year there is the breakout film which no one expected – a Little Miss Sunshine, a Slum Dog Millionaire, or a Hurt Locker – films that were very hard to get financed, and when they are made and are successful, it becomes a pack mentality of ‘that worked so lets jump on the bandwagon’. In 2008, a movie that had no American financing, almost didn’t get distribution, and was given an initial low key distribution by Fox turned out to be a mega hit. That movie was Taken and that became the mantra for every studio executive you went to with a project. Their objective was to find their Taken. What is that? A movie where a girl gets kidnapped, and the father is tough? The executives couldn’t articulate what they were looking for except that it had to have emotion, be very exciting, and not be very expensive. It’s a frustrating pack mentality of not thinking out of the box. Then there are the tent-pole movies that the studios live on. With Avatar a success in 3D, every movie has to be converted into 3D. I think that trend is disturbing because it’s like making a movie and then changing its visual language.

ET: The perception is that you are a director who only works with the major studios. I think many wonder why you now want to work in the independent field on Georgia. In talking with you, it seems to be more about the artist in you.

RH: For me the independent world at this point of my career is more interesting. I am not going to be pretentious and say I wouldn’t want to direct a $300 million movie, if it was a good story, and had all the toys in the world available to play with. In general, when I go to the movies I prefer independent and foreign films. I watch the tent-pole blockbusters because as a professional I need to keep abreast of what is going on. Vincere, about Mussolini, was the last independent movie I saw, which I thought was brilliant – so poetic, so visual. That’s the kind of movie I love to see, and when I leave the theatre I feel as if am floating above the ground, because it was a beautiful artistic experience.

ET: I saw and loved the movie too, but is this the type of movie you want to turn your talent to direct?

RH: Mannerheim, which I have managed to get going again, will be my next movie. That will be my Vincere. It’s a biography, but I want to make this movie poetic and symbolic rather than simply portraying the sequence of events.

ET: As an action director, you have had tremendous success, yet underneath there seems to be a very sensitive person wanting to break out.

RH: Actually my career turned out very different to how I envisioned it. I am not in the least disappointed; it’s just different. When I was shooting Die Hard I came across a script, Rambling Rose, and wanted to direct it, only to learn that it was Martha Coolidge’s passion project and she was unofficially attached for years to direct, but for 22 years they couldn’t find the financing. I loved the project so much, I made it my mission to get it produced. I was completely involved, put all the financing together, got Robert Duval on board, went to the set every day and loved that experience. I thought this is great! Die Hard has given me the clout, and this is what I am going to do now, make one big movie a year, and have beautiful smaller pictures I want to produce and direct. Rambling Rose received two Academy nominations, and won the Independent Spirit Award for Best Film that year, but somehow that chance never came again. The projects never materialized and then I got sucked into Hollywood. Bob Shaye who has been a friend since the 80’s and for whom I directed Nightmare on Elm Street: The Dreamer Master gave me the perfect Hollywood metaphor when he said: “Just remember when you get some success in Hollywood, it’s one big crackpipe, and if you start smoking, it will give you a quick high, but it will be very hard to get off.” I think to a certain extent I started to smoke the pipe and with Deep Blue Sea and Cliffhanger got sucked into Hollywood. Once I was there, like many others have found, I was scared to ‘step down’ and do smaller intimate pictures or independent pictures. It’s almost as if I felt the train was going to leave the station and never come back and I would never get on it again. I was tap dancing, making movies mostly because I wanted to be working, instead of taking the time to find projects that I cared about.

It’s sometimes hard for people to understand, except perhaps other directors, that I love to direct. It’s an incredible passion, just being on the set communicating with the crew, and actors. It’s what I live for. I have sometimes made movies for the wrong reasons, because I was simply excited by the fact I could do what I love doing. When I made Born American, which was my calling card to Hollywood, my attitude was “I’ll shoot anything.” Having directed 15 movies, I have more experience. I am older, and I have a different perspective. Instead of wanting to make a stunt as cool as I can, it’s now “how can I tell the story in a beautiful way?” It’s not that the fascination with the toys has disappeared; it’s a need for substance to direct, care about and invest my time in.

ET: So when you had all the information on Georgia, you felt you had found what you were looking for?

RN: Decidedly, every day of the shoot on Georgia, no matter the weather, or how tired I was, I felt in my heart, my passion as a director was filled with purpose. I was on location dealing with real people who had lost loved ones in this war. I thought: “If I can, through a movie – the most powerful medium, get the word out to the world, not by making a documentary but an entertaining story with the real people, how did I get so lucky that I could do this?”

ET: What was it like to film in Georgia? I understand this is the first US production film to be shot there, and that they are actively encouraging productions to take advantage of their incentives, especially if the companies are already familiar with shooting in Eastern Europe. Given shooting Georgia was the first production, was it logistically difficult?

RH: Georgia, like all ex-Soviet republics, had a film industry established from the Propaganda films that died with independence in the 90’s. There are some studios and they make two or three small local pictures a year. The local people and crew are very sweet, and speak English, but don’t have the same work ethic in terms of shooting movies like an American crew (for example what we need to get done in the day and working a12-hour day). As a consequence we had to bring in the key crew from all over the world. I think, in total, fourteen languages were spoken on set. It was a very colorful, very interesting bunch of people and it all worked great. In that regard it was a learning experience for the Georgians and for us too. Some days we had 70 setups filming the expansive war scenes, and it was all shot in 48 days. Every day was a challenging experience and some were filled with surprises, but it was a great group of people and I think everyone felt we were making this movie for a reason. It was a very love-filled experience.

ET: You always seem to work with the same actors, in this instance Val Kilmer.

RH: I love working with my friends like Samuel Jackson and Val Kilmer, and other people I know and have worked with before, but it’s not always feasible. It helps tremendously when you put a movie together that there is chemistry between the cast and crew, and between crew and cast, and most importantly trust. When it’s someone you have worked with before, that trust is already there. We know our weaknesses and our strengths and we can concentrate on other important aspects of the work. It’s no secret others think Val Kilmer is difficult to work with, but he is not with me. We have the trust and a common goal and we get on with the job.

ET: Here’s a difficult question for you: do you think you are difficult? From an actor’s viewpoint are you difficult to work for and with?

RH: It is a difficult question to answer about oneself, but I think the answer is no. I would say I am extremely prepared and organized. I like to know everything beforehand about the movie. I like to spend a lot of time, preparing and planning each day. I plan every shot so that on day 46 I know exactly what are we are doing, and that information is shared with the actors and the crew and that builds a bond and trust between all members of the crew. A key to why some actors can be difficult has to do with the director. As an actor you have fought your way up the ladder and are at a point through talent, hard work and some luck, and you don’t want that ‘position’ to go away. An insecure director who is not prepared, and does not give directions to an actor creates a huge insecurity for the actor, because the actor lacks a strong director who is providing help and guidance through the process, and that creates tension on the set. The director is the one with the vision; he makes the decisions on the set. You can say it’s a right or wrong decision but it’s his decision and he needs to be able to communicate that to the crew. Of course he listens to ideas, but he makes the decisions and has the view and a strong idea about what he is doing. That is how I work. At the same time I love collaboration and encourage the crew to share ideas. If it’s a good idea and I like it I will use it as I am getting the credit anyway (laughter). It’s the same with the actors but ultimately when we shoot they know I will direct them.

I suppose I could be considered tough by some because, I expect everyone to be prepared and work hard. I don’t tolerate laziness, and people who don’t care about their work. They can leave and they can be replaced. But I want it to be FUN. This is what we do; it’s our life. We travel to different places, work long hours, and because of the work we can be prone to neglect our families. We can spend weeks and months sometimes in far-flung places where the shoot is cold and miserable, the food is bad, and then you also have to deal with yelling and screaming and arguments. I work very badly in conflict. Some people create conflict, and create something good from that. I am the opposite. I like a happy set, joking, laughing, and I like to be incredibly encouraging. When an actor does great, I applaud and everyone joins in.

ET: What are your views regarding producers on the set, and the ideal relationship between the producer and the director? This is a good time to bring in the Georgian producer Georgia Mirza Davitaia.

RH: There are different kinds of producers. There are those who pretty much after the deal is done never show up, or just do the organizational and financial aspects. And there are those producers who are a combination of all those factors and are creatively involved. For me those are the best kind, because you are able to use the producer as a sounding board for ideas, to make a final decision. To discuss how we can do a scene with what I may need and what he thinks we can afford. Together we can solve the problems. I like a producer who is involved and understands what is going on at all levels. Mirza is a good example of the kind of producer I like to work with. He has an artistic background and can understand the ‘artist‘ aspect of dealing with cast and crew. In one instance on Georgia, with dialogue and brainstorming we were able to improve a scene without affecting the shooting, but it improved the scene tenfold. And of course there were days he was worried that money was flying out of the proverbial window.

ET: Mirza, how were you able to get Renny Harlin involved in Georgia?

MIRZA DAIVIATA: I originally brought the project to George Lascu of Rex Media who, through his contacts in Hollywood, secured Renny for the movie. I knew of Renny from Cliffhanger and Die Hard 2: Die Harder, and was very excited and happy that he agreed to direct Georgia. We were able to finish the funding and work fast because he has the experience of doing a ‘big movie’ and also because he is flexible and can make decisions fast. As he mentioned, there was a very short window for preparation and people in Georgia wondered whether it could get done. Thanks to Renny’s energy and the people he gathered around him, we were able to accomplish it. An important segment of completing the finance was that Renny and Val Kilmer and Andy Garcia were involved.

ET: Was making Georgia more important to you as a producer or a citizen of the country?

MD: All my life I have tried to promote Georgia in my work, to make it a place that would be familiar to other people in the rest of the world. I used to live in Europe and depicted Georgia in some way as an artist through my paintings. The film gives me and my investors and financiers the opportunity to further promote Georgia on a much bigger canvas through the feature film. The country’s rich culture is very interesting yet unknown, and my idea was that Georgia, the movie, would be a great way for people to discover this beautiful country.

ET: Is it a political film?

RH: It’s an anti-war film and a human story that could take place in Rwanda or Bosnia or a South American country. It’s very much about the journalists who go into these situations and risk their lives to let the world know what is going on.

ET: How involved are you with the Editing?

RH: I am very much involved. All the Post Production and CGI are being done in the States. We recently showed the film to the cast and crew, and the President of Georgia who was in LA for another occasion. After the screening he called it a ‘masterpiece’ and the cast and crew, always your toughest critics, were in tears. For me it was one of the highlights and best nights of my career. We are showing a rough cut to distributors in Cannes. I fully expect they will offer feedback, and based on those comments we might make a tweak here and there. By the middle of summer we hope to have it complete to get traction for the autumn Festival season. I had a film in Toronto before and I would love it if Georgia could be there. On the music, we haven’t closed a deal yet but I am hoping my close friend Trevor Rabin who is finishing the Sorcerers Apprentice will do the score. We just found out by coincidence that his wife’s grandfather is Georgian, so it could be quite serendipitous.

ET: Finally, Renny, are you open to people contacting you regarding projects? The hardest obstacle for any producer or director is to reach talent who want to work but their agents and managers are often in the way. However, if it’s a project they like, they will work with someone determined enough to seek them out.

RH: Absolutely! They can contact me! (laughter) I totally understand how trying to reach talent can be intimidating. The Hollywood system is designed in one way to protect, but it is also a way to isolate you from real people, and real life, and that is not a good thing at all. I broke into Hollywood almost out of ignorance, I just knocked on doors and turned up. On one occasion someone asked me, “Who is your lawyer?” I said, “Am I in trouble?” Had I known how the system worked I would never have made it. The Hollywood structure is like a dinasour, but I believe that anybody creative enough can break through, and I think with the Internet and youtube it is a little easier today. You asked me earlier about how I am on set, and that there seems to be another side to me. The biggest burden of the last 15 years is that people and even studio executives think I am this big Viking, who makes big action movies, and is loud, scary and brutal. But that is not me. I am the opposite!!! I am determined, and the films I want to make are in the realm of Rambling Rose and Georgia. We talked about the look and sensibility of Vincere, which I will apply to my next movie, Mannerheim. That is me. Sometimes I feel like a poet trapped in the body of a warrior.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

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Re: Novi Reni Harlin
« Reply #43 on: 31-05-2011, 13:36:22 »
Producer Markus Selin expected to announce another director soon.

Finnish Hollywood-director Renny Harlin has pulled out of  the €12-14 million ($17-20 million) Mannerheim, Finland’s so far most expensive feature to be staged with his Finnish producer, Solar Films’ Markus Selin. ”I simply lost my faith in the project,” Harlin told local daily, Ilta-Sanomat.

According to Harlin, whose latest film, 5 Days of August with Rupert Friend, Val Kilmer and Andy Garcia will be released on June 5, he has declined several offers for other films because he thought ”now is the time”. He also said he planned to develop his own version of Mannerheim within the next three years.

Selin, who co-wrote and produced Harlin’s international break and Hollywood ticket, Born American, aka Arctic Heart (1986), was not available for comment. Per the Finnish press, the production of the film will go ahead as planned, with a new director attached; Selin would announce further early June.

Harlin’s come-back to Finnish filmmaking, the bio-pic of Finnish president Carl Gustaf Emil Mannerheim, has been on and off several times since it was announced in 2000, mainly due to financial problems. Most recently it was reported back on track and ready to shoot at Hungary’s HCC Studios, with new German backing.

With a cast including Mikko Nousiainen (Mannerheim), Irina Björklund, Pamela Tola, Laura Bim, Peter Franzén, Ville Virtanen,  Kari Väänänen and Esko Salminen, the portrait of the Finnish soldier and statesman is scripted by Heikki Vihinen, Marko Leino, Mika Karttunen and Mikko Alanne.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

Kunac

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Re: Novi Reni Harlin
« Reply #44 on: 14-06-2011, 20:39:02 »
Pet dana rata je pamflet. Akcija je dobra. Ne znam šta je ovo Harlinu trebalo. Valjda se bar dobro opario.
"zombi je mali žuti cvet"

ginger toxiqo 2 gafotas

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Re: Novi Reni Harlin
« Reply #45 on: 14-06-2011, 23:42:11 »
...jeste dobra akcija u ovom najnovijem Harlinovom rediteljskom radu, a i zgodno je podsećanje zašto (i ovde) dosta balavimo nad njim i onim što je uradio i/ili mogao da uradi, ali u celini ipak je reč o priličnoj sramoti i šteti za velikog autora.Čak i ako posegno sa naknadnim učitavanjima da ovo nije puki najamnički posao (sama gruzijka finansijska vrhuška je uložila novce u ovaj film), već da Harlin svesno dovodi  ogoljenu pamletičnost 5 DAYS OF WAR do samog paroksizma, ostaje utisak da se na idejno-ideološko-moralnom planu ovaj njegov film ponajbolje rimuje ponajpre ipak sa turskom DOLINOM VUKOVA. Ne sporim da se ovde radi o dvoljno zgodno izvedenom i dovoljno privlačnom mish-mashu Spotiswoodovog under fire, Antonijevićevog SPASITELJA i pokušaja pariranja verističkoj mahnitosti HURT LOCKERa (kao najfriškojig primera), ali kada se sva pirotehnika utiša ovo je sramota od pamfletske ostrašćenosti, neumerenosti i uproštavanja. Činjenica da je Harlin u ovoj meri bio rad da ide uz dlaku finansijera može se objasniti ili očajem zbog pozicije unutar esnafa (za šta mislim da stvari ne stoje tako loše, ako ni zbog čega drugog, a ono zbog očitog kontinuiteta u karijeri), spremnosti da se zarad prilike da se uradi još poneka zahtevnija akciona sekvenca proguta i otvoreni šovinizam kao ključna odrednica ovog projekta ili naprosto o rusofobiji kao istinskom uvrenju Harlina. Sve i da uzmemo da je on Finac (dakle, sosoba sa mogućno/inhibiranom nacionalnom traumom kao posledicom ruske vlasti nad otadžbinom mu), ostaje fakat da je njegova rusofobija imala smisla u slučaju ARCTIC HEAT, nastalom u poslednjim danima hladnoratovskog paranoidnog ludila, a da je 5 DAYS OF WAR  ipak porazan izbor za čoveka njegovog dara i dometa. Istini za volju, teško mi je da pomislim da bi neki misleći Gruzijac mogao da bude ushićen gotovo (nenamerno, naravno) karikaturalnim prikazom gruzijskog aktuelnog predsednika (tumači ga Andy Garcia) čija dobrohotnost i moralnost bez premca deluju campy i smehotresno. A na stranu to što ovakav 5 DAYS OF WAR suštinski relativizuje i banalizuje zločine počinjene tokom ratnih SFRJ  sukoba, jer Rusi u 5 dana sukoba znatno prebace i povisoku hašku normu zuluma, zločinjenja i terora nad folklorističkim prikazanim gruzijski življem kome čak i u odjavnoj špici Harlin dodeli ulogu nemuštog ukrasa, kanda sve u skladu sa paternalističkim slepilom jednog običnog plaćenika kome se ovako nepšto teško može progledati kroz prste, pa bilo to i na konto minulog rada... a rekoh, akcija je dobro dobra...
"...get your kicks all around the world, give a tip to a geisha-girl..."

Kunac

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Re: Novi Reni Harlin
« Reply #46 on: 14-06-2011, 23:50:58 »
akcija je bila vrela...
"zombi je mali žuti cvet"

Tex Murphy

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Re: Novi Reni Harlin
« Reply #47 on: 15-06-2011, 09:57:34 »
Thanks, gingeru, upravo si mi spasio dva sata života!

crippled_avenger

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Re: Novi Reni Harlin
« Reply #48 on: 15-06-2011, 20:19:32 »
Siguran sam da je sa velikim nestrpljenjem očekivano moje obraćanje naciji povodom novog Harlinovog filma, naročito ako imamo u vidu da se u ovom filmu vratio svojim finskim, prirodno antiruskim sentimentima koji su obeležili njegov finsko-američki debo BORN AMERICAN, što u aktuelnim geopolitičkim okolnostima predstavlja dodatni izazov.

Nažalost, FIVE DAYS OF WAR nije film čiji će se utisak popraviti ili pokvariti kroz tumačenje političkog pošto ovaj film ima toliko zanatskih i u širem smislu estetskih problema, koji samo jednim delom proističu iz pamfletske prirode celog projekta. Naime, Harlinu očigledno poslednjih godina poslovi u Americi ne ide kako treba iako se ne može reći da je od svog poslednjeg blokbastera DEEP BLUE SEA i potonjeg flopa DRIVEN ređao isključivo promašaje. MINDHUNTERS je recimo bio odličan film koji je naišao na problematičnu distribuciju, COVENANT je bio slab film koji je pak solidno prošao na blagajnama, 12 ROUNDS je ako imamo sve u vidu bio sasvim pristojan WWE rad i jedino je CLEANER bio suvišan naslov koji je zaslužio DTV ishod. Ipak, sve to nije razlog za zbilja katastrofalan izlazak Harlina iz mode. Ako imamo u vidu da je on u jednom momentu bio na A+ listi holivudskih reditelja, da je pre samo petnaest godina dobio priliku da režira najskuplji scenario u istoriji, da je pre 12 godina ima megahit od preko 100 miliona i da potom tokom lutanja nije pokazao znake kako gubi korak sa kinematografskim tokovima, njegov sunovrat deluje zbunjujuće.

On je taj sunovrat koji ga je neumitno vodio u smeru DTVa gde bi se on, kao reditelj koji je ovisnik od total coveragea, snimanja sa više kamera, i ozbiljnijih budžeta, pokušao da zaustavi ovim propagandnim projektom kojim je Gruzija pokušala da svoj rat oko Južne Osetije medijski eksploatiše. Harlin nije prvi reditelj koji je pozvan da živopiše nečiji tuđi konflikt, a najbolji dokaz da filmovi tog tipa mogu biti čak i remek-dela dao je Gillo Pontecorvo sa svojim alžirskim projektom. Međutim, Pontecorvo je snimio sa pre svega umetničkim integritetom, koristeći naturšćike, čak i neke prave učesnike antikolonijalne borbe i njegov film je po mnogo čemu bio iskorak čak i u estetskom smislu.

Harlin i njegovi naručioci su od gruzijske priče odlučili da naprave hendikepirani holivudski film, sa američkim glumcima, korišćenjem brojnih stereotipa koji sami po sebi meni nisu sporni, ali da bi se pravilno plasirali moraju da budu iskazani sa više uverenja od strane autora i glumaca, i tako nastaje ovaj film mutant u kome se susreću nižerazredni glumci poput Dean Caina koji je predmet sprdnje u ENTOURAGE, ocvali Andy Garcia koji je tu da bi beatifikovao Sakašvilija, Val Kilmer koga život nije baš mazio, neki up and comeri poput Emanuelle Chiriqui i Rupert Frienda koji pokušavaju da budu leadovi, Šerbedžija koji igra vođu ruske paravojske, i uopšte neka ekipa skupljena s koca i konopca, pomešana sa lokalnom radnom snagom i ostavljena u totalnom disbalansu ne samo između holivudskog i lokalnog dela ekipe već i između stilova glume među samim Angloamerikancima.

Naprosto teško je zamisliti film u kome trećerazredni personality acting Dean Caina može da stane uz rame sa kakvom takvom ozbiljnom glumom Rupert Frienda, te je film na tom nivou krajnje nekonzistentan.

Sam scenario je naravno pamfletski, i crno-beli, što ne bi bio problem da je dramaturški veštiji i da postoje elementarni uslovi da se takva laž plasira. Međutim, suočen sa time da nema ni glumačku podelu a ni tehničke uslove da nam plasira laž o ratu Gruzije i Rusije, čovek koji nas je dotle uspešno ubedio kako Freddy ulazi u snove, John McClane pobeđuje specijalce, Sly zavodi red na planini, učiteljica u stvari samo ima amneziju i inače je ubica i sl. ovoga puta promašuje. Iako je situacija između Gruzije i Rusije najbliža istini od svih njegovih filmova, Harlin po prvi put ne uspeva da nam stvori iluziju.

Ako imamo u vidu u kakve neverovatne stvari je do sada uspevao da nas ubedi, i kakve iluzije je uspevao da nam u sat i po ili dva proda kao nešto što nas zanima, FIVE DAYS OF WAR je veliki pad za Harlina.

Suočen sa time da se film raspada na svim mogućim šavovima elementarne drame i glumačke postavke, on ne uspeva to da nadoknadi akcijom. Bez ikakve sumnje, Renny zna šta radi tako da je i akcija bolji deo ovog filma, ali daleko je ovo od onoga po čemu ga znamo. Naravno neki njegovi aduti po kojima je prepoznatljiv su i dalje tu. Henchmeni sa identitetom, jasan raspored snaga na terenu, dobra upotreba slo-moa - sve to postoji u tragovima, ali ovoga puta akcija prosto nije na nivou jer su okolnosti rada van holivudskog sistema uzele danak.

Saradnici na ovom filmu spadaju svakako među najslabije u Harlinovom opusu. Od DPa preko ostatka ekipe, to je sastav koji mu je do sada najslabiji, pa bih rekao da je čak i u 12 ROUNDS imao bolje saigrače - recimo taj film je slikao David Boyd, DP koji je bio alfa i omega vizuelnog identiteta serije FRIDAY NIGHT LIGHTS.

Bez namera da aboliram Rennyja, pošto je sam kriv za masu propusta koji su vidljivi čak i studentu režije, činjenica jeste da su finansijeri, sigurno beskrajno starstruck od mogućnosti da u njihovoj nacionalnoj priči igraju holivudske zvezde, pokušali da dovedu koga god su mogli, pa tako Heather Graham ima cameo na početku kao Drew Barrymore u SCREAMu. U tom smislu, sigurno je da deo zabune sa glumcima možda on nije ni mogao da kontroliše.

Pa ipak, činjenica da je priliku da iskorači izvan Holivuda i da konačno snimi ono o čemu stalno priča, a to je drugačiji film, a da na kraju snimi nešto što je samo sedmorazredni pokušaj Holivuda, daleko iza i od mnogih DTV naslova od kojih on verovatno beži - e to je već njegova greška. I zato mi se čini da je Harlin sa ovim filmom ozbiljno zatvorio ili barem pritvorio vrata sa povratak ambicioznijim projektima u Americi.

FIVE DAYS OF WAR čeka DTV sudbina sa nešto svetlijom budućnošću na televizijama od one koje imaju tipični DTV naslovi.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

ginger toxiqo 2 gafotas

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Re: Novi Reni Harlin
« Reply #49 on: 15-06-2011, 22:37:35 »
...da nr bude zabune, ARCTIC HEAT koji sam ja spomenuo je jedan od alternativnih naziva za BORN AMERICAN...
"...get your kicks all around the world, give a tip to a geisha-girl..."