Ovaj topik je jedan od "izgubljenih", pa sam rešio da ga ponovo pokrenem - vredi!
OK, koncept već svi znaju: dva filma za cenu jednog.
Robert Rodriguez režira zombi film "Planet Terror"; Quentin Tarantino je zadužen za auto-slasher "Death Proof"
Spisak glumaca je prilično impresivan, ima tu podosta žanrovskih favorita i novih nada...
Naveen Andrews 8)
Michael Biehn :!: :!:
Rosario Dawson :lol:
Jeff Fahey 8)
Stacy Ferguson :(
Rose McGowan :lol:
Michael Parks :)
Tom Savini 8)
Marley Shelton :lol:
Danny Trejo 8)
Mary Elizabeth Winstead :lol:
Jordan Ladd :lol:
Kurt Russell :!:
Koliko sam shvatio, oba filma će biti omaži eksploatacijskim horororima 70-tih... Carpenteru je dobio ponudu da radi muziku... Čini mi se da ovo može da ispadne izuzetno zabavno.
da, biće zabave.
inače, OVAJ topik nije 'izgubljen': http://www.znaksagite.com/diskusije/viewtopic.php?t=3284
OK, hajde onda da malo modifikujemo stvar, a ne izađemo iz okvira imena topika...
Koje parove predlažete za idealno grind house iskustvo? Selekcija se može vrštiti na osnovu godišta, tematskih sličnosti, budžeta, glumaca, reditelja... You name it!
Predlog broj 1: Futureworld (1976) & Android (1982); tim redom!
Dva filma, približnog godišta, s čovekolikim robotima u pivotalnim ulogama. Oba filma su malo poznata, a nisu neinteresantna (samo nemojte da očekujete remek-delo, i sve će biti u redu).
samo da kažem kako je muzika u androidu prekrasna :!:
Predlog broj 2: EATEN ALIVE (hooper) + ALLIGATOR (teague)
Predlog br. 3: Howling + Wolfen
Quote from: "Ghoul"Predlog broj 2: EATEN ALIVE (hooper) + ALLIGATOR (teague)
A šta kažete na ovu varijaciju Ghoulovog predloga...
Predlog br. 4: Tobe Hooper's
Eaten Alive (1977) + Umberto Lenzi's
Mangiati vivi a.k.a. Eaten Alive (1980); s podnaslovom POSTOJI VIŠE OD JEDNOG NAČINA DA VAS ŽIVE POJEDU.
...moj nehorrorichan predlog:
1.GUNCRAZY(Tamara Davis;st:Drew Barrymore,James Le Gros,Joe Dallesandro,Billy Drago,Ione Skye...)
2.GUN CRAZY a.k.a. DEADLY IS THE FEMALE(Joseph H.Lewis)
...osim slichnosti naslova tu su i: motiv ukletih ljubavnika, pustare i zabiti puteve americhkog srednjeg zapada, sklonosti ka oruzju, ocharavajuca gubitnichka atmosfera...ma, THE MATCH MADE IN HEAVEN!!!!!!!!!!!!!!!!!!!!!!
...evo josh jednog predloga:
1.THE BREAKFAST CLUB Johna Hughesa
2.RELENTLESS Williama Lustiga
...objasnjenje- oba filma su odlichno izvedena, jako su bitna ostvarenja u svojim pod-zanrovima ali ono najvaznije- zanimljivo bi bilo pratiti razvoj lika JUDDA NELSONA iz THE BREAKFAST CLUB, logichno ishodishte kralja teen angst-a prikazano u RELENTLESS kada vishe nije bilo najmedenije big screen ridjonke ever MOLLY RINGWALD da amorizuje njegov bes in a blink of an eye
...Am I good or am I good????
Quote from: "ginger toxiqo 2 gafotas"...Am I good or am I good????
The Best!
Evo još jednog predloga:
The Descent &
The Cave; čisto da se vidi ko je glavni.
Grind House za dečicu: Beethoven (1992) + Cujo (1983)
:evil:
Za nesto stariju decicu - PORKYS i AMERICAN PIE
...2 tematski bliska filma ali, nazalost, razlichitih dometa
1.RAMPAGE- THE HILLSIDE STRANGLER MURDERS Chrisa Fishera, iz production hell-a spasena art-house drama o poslednjim danima lova na Kennetha Bianchija, brizljivo rekonstruisana era sedamdsetih, odmerena gluma Brittany Daniel( nekada jedne od 'Bliznakinja iz gimnazije') i Clifftona Gomey/Collinsa, Jr., extremno pokretljiva kamera...
2. THE HILLSIDE STRANGLER- ista tema, manje ambicija i mnogo manje uspeshna realizacija, bleda gluma ozbiljno oronulog C.Thomasa Howella i Nicholasa Turturra, scenario na nivou pokushaja...ali ipak zavredjuje pohvalu zbog iskrene posvecenosti ekspoloatacijskom izrazu...i par gnusnih prizora..
***na istu temu je krajem osamdesetih godina uradjen i rutinski TV film THE CASE OF THE HILLSIDE STRANGLERS( u glavnim ulogama su, koliko se secam, bili Dennis Farina i Billy Zane), tek da se pomene...
odlepio sam kad sam video trejler :!:
http://www.youtube.com/watch?v=Yal0BxZ7Bzw
najvece ludilo ikad! Danny Trejo je car! 8) :D
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poster me podseca na "Reanimator"
evo novi trejler! :!:
http://playlist.yahoo.com/makeplaylist.dll?id=1540950&sdm=web&qtw=480&qth=300
Pretty much every director of the 'Splat Pack' is participating in the upcoming "Grind House", contributing several 'faux trailers' sandwiched in-between the Rodriguez & Tarantino flicks.
Last week it was revealed that Rob Zombie ("House of 1000 Corpses") would be doing one entitled "Werewolf Women of the SS" (god that sounds cool).
Now its been confirmed (though talked about for a while now) that "Hostel" helmer Eli Roth and "Shaun of the Dead" director Edgar Wright will be doing their own as well.
No word on what Wright's one involves, Roth's though is entitled "Thanksgiving". These don't include the already glimpsed faux trailer for "Machete" with Danny Trejo.
It may only be a 'faux trailer' for the middle section of the Tarantino/Rodriguez flick "Grindhouse" in April, but Director Rob Zombie's just beautifully titled "Werewolf Women of the SS" short continues to sound cooler by the day.
Fangoria has revealed further details on the trailer which tells "the story of Hitler's plan to create a race of superhuman werewolf women to win the war -- based on actual documents found in Hitler's bunker".
Udo Kier, Sybil Danning, Bill Moseley, Tom Towles and Sheri Moon Zombie all star in the trailer. The strangest casting news of all is that Nicolas Cage will make an appearance as the one and only evil genius Dr. Fu Manchu (how they'll get around the copyright issue I don't know - possibly just by not naming him directly).
Spisak glumaca je, praktično, zaokružen:
Impresivan kast, nema šta...
"Planet Terror"- Rose McGowan .......................................... Cherry
- Freddy Rodriguez ....................................... Wray
- Josh Brolin ................................................. Dr. William Block
- Marley Shelton ........................................... Dakota
- Jeff Fahey .................................................. JT
- Michael Biehn ............................................ Sheriff Hague
- Rebel Rodriguez ........................................ Tony
- Bruce Willis ................................................ Muldoon
- Naveen Andrews ...................................... Abby
- Julio Oscar Mechoso .................................. Romey
- Stacy Ferguson ......................................... Tammy
- Nicky Katt ................................................. Joe
- Hung Nguyen ............................................ Dr. Crane
- Tom Savini ................................................ Deputy Tolo
- Carlos Gallardo.......................................... Deputy Carlos
- Skip Reissig .............................................. Skip
- Electra Avallen .......................................... Babysitter Twin #1
- Elise Avallen ............................................. Babysitter Twin #2
- Geraldo Rivera .......................................... Himself
- Quentin Tarantino .................................... Rapist
- Jason Douglas .......................................... Lewis
- Michael Parks ........................................... Earl McGraw
- Jerili Romero ............................................. Ramona McGraw
- Felix Sabates ............................................ Dr. Felix
"Death Proof"
- Kurt Russell .............................................. Stuntman Mike
- Zoe Bell .................................................. .. Zoe
- Rosario Dawson ....................................... Abernathy
- Vanessa Ferlito ........................................ Arlene
- Jordan Ladd ............................................. Shanna
- Rose McGowan ........................................ Pam
- Sydney Tamiia Poitier .............................. Jungle Julia
- Tracie Thoms ............................................ Kim
- Mary Elizabeth Winstead .......................... Lee
- Omar Makhdomi ....................................... Nate
- Michael Bacall .......................................... Omar
- Eli Roth .................................................. .. Dov
- Quentin Tarantino .................................... Warren
- Monica Staggs ......................................... Lanna Franks
- Michael Parks ........................................... Earl McGraw
- James Parks ............................................ Edgar McGraw
- Helen Kim ................................................ Peg
- Tim Murphy ............................................. Bartender
- Marta Mendoza ....................................... Sonia
- Electra Avallen ........................................ Babysitter Twin #1
- Elise Avallen ............................................ Babysitter Twin #2
- Marley Shelton ........................................ Dr. Dakota Block
- Jonathan Loughran ................................. Jasper
- Tina Rodriguez ........................................ Juana
- Kelly Robbins .......................................... LaQuanda
Šti se lažnih trejlera tiče, stanje je sledeće:
"They Call Him Machete" (Directed by Robert Rodriguez)
- Danny Trejo ............................................ Machete
"Cowgirls In Sweden" (Directed by Quentin Tarantino)
- ?
"Thanksgiving" (Directed by Eli Roth)
- ?
"Werewolf Women of the S.S." (Directed by Rob Zombie)
- Nicolas Cage ......................................... Fu Manchu
- Udo Kier
- Sheri Moon
- Bill Moseley
- Sybil Danning
- Tom Towles
- Vladimir Kozlov
- Test (aka Andrew Martin)
"?" (Directed by Edgar Wright)
- ?
Quote"Thanksgiving" (Directed by Eli Roth)
:!:
Eto, Harvi, doci ces na svoje :lol:
Quote from: "Harvester"Quote"Thanksgiving" (Directed by Eli Roth)
:!:
:!: :!: :!:
We've seen that Quentin Tarantino and Robert Rodriguez will be artificially adding dirt and scratches to all the prints of their upcoming two-film action-fest "Grindhouse", well now they're taking the sleazy look even further.
Speaking with The New York Times, Tarantino revealed they both have 'purposefully cut out' a segment from their films - and replacing it with a brief 'Missing Reel' image.
"When it pops up 'Missing Reel,' the entire theater is going to scream. They might very well be screaming my name: 'Quentin, you bastard! We hate you!'" says the "Pulp Fiction" director.
The aim of course is to recreate the sleazy $1 movie theatre experience. Nice.
Seems all us overseas people don't understand the concept of the sleazy movie theatre - surprising news to me considering I've visited theaters where you're lucky if that's a choc top stain you're sitting on.
So the Weinsteins, who're releasing the upcoming Tarantino/Rodriguez "Grindhouse" double feature, have decided that non-English speaking countries will get the two films separately ala "Kill Bill".
The films will apparently feature 'additional footage' and be released several months apart, though which one comes first is undecided at present. No word on how the fake trailers in the middle will be worked into these.
Meanwhile people's attempts at faux "Grindhouse" trailers have started popping up on YouTube. Amongst the highlights are Cong of the Dead about zombies in the Vietnam War, Camp Burlesque and the simply conceived Hobo With A Shotgun which are convincing period recreations, and post-apocalyptic chicks in leather and armed kicking hungry mutant ass in Kitty Kat Daniels vs. The Nuclear Cannibals.
The win so far though has to go the very cool and professional looking Maiden of Death. A guitar chick makes a deal with the devil to get revenge - in all of 100 seconds I was supremely more entertained than I was throughout all two hours of the just plain silly "Ghost Rider" this weekend. I mean c'mon, the girl slices a speeding car in half with a circular saw built into her guitar.
Always thought that AbFab idea of "Bond Meets Black Emmanuelle" would make a good "Grindhouse" flick.
He spoke about his upcoming work with Cinematical at the New York Comic Con this weekend and confirmed his trailer for "Grindhouse" will be the 1981-esque slasher film "Thanksgiving" which is a homage to all those holiday-themed massacre movies. He also has a part in Tarantino's "Death Proof" in a bar scene.
Bilo stvarno interesantno da premijera bude drive-inu.
Rob Zombie is doing "Werewolf Women of the SS", Eli Roth is doing the holiday-themed slasher "Thanksgiving", but one guest director on the upcoming "Grindhouse" has yet to reveal details on his contribution - until today.
I chatted with one of the most fun drinking buddies you'll get out there, "Shaun of the Dead" director Edgar Wright, during his Sydney promotional tour for "Hot Fuzz" this morning. That interview goes online on Thursday, but today I'm jumping ahead a bit with one element of our chat - his 'faux trailer' for "Grindhouse" which he gave up a few minor bits about.
Completing the trailer literally right after he wrapped up shooting on "Hot Fuzz", Wright had to shoot, edit, grade, mix, etc. and deliver the trailer all in the space of six days. He managed to rope in some big stars apparently to appear in his trailer, but won't reveal who and is keeping it all a surprise.
His trailer is inspired by "American trailers for European films". Back in the 70's with horror films, and to this day in fact with movies even like "Pan's Labyrinth", the US trailers for these films try to fool the audience into thinking they're watching an American film.
Thus the narrator says everything, there's no dialogue to give away that people aren't speaking English. There's also the tendency to re-title things with more punch and sex appeal so he's squeezed in a reference that the film's original title was "something boring" like 'An Incident at Cobb Hall' which gets re-titled for the market.
Robert Rodriguez confirmed this week at the SXSW festival that he's planning a solo movie for actor Danny Trejo's Machete character from the upcoming "Grindhouse".
"Machete" is the faux trailer that Rodriguez shot for "Grindhouse" and glimpses so far have seen Danny Trejo as the titular hero - an angry man with a large leather trenchcoat filled with assorted knives.
In the process of the trailer we see Machete make out with two playboy bunnies in some idyllic lagoon, and in another he sticks a gattling gun on the front of his motorcycle and starts blasting away.
According to Cinema Blend, Rodrgieuz says the movie will be a direct-to-DVD release and seemed pretty certain it'll be happening.
The filmmaker also added that he still wants to do "Once Upon a Time in Mexico" sequels, saying that film was originally planned to be the first of a trilogy of movies following Johnny Depp's blind gunman character.
The whole point of a grind house film is that it contains material too explicit to be shown in mainstream theaters. Well, now the upcoming Tarantino/Rodriguez "Grindhouse" double feature is facing that challenge in terms of its content.
The New York Post reports that there is no way the current version of the film can earn an "R" rating, not a problem for the intended audience but definitely a problem for the exhibitors, marketing people and advertisers who won't be able to promote or display either an NC-17 or Unrated version.
The good news is that the directors have intentionally added splices into their films anyhow so further 'splicing' of naughty content shouldn't prove an issue. Unfortunately most of the problems seem to stem from the faux trailers in-between these features.
Rob Zombie's "Werewolf Women of the SS" features shots of all topless female POW's in a Nazi concentration camp, and one scene where a topless girl is tied down to a table, drained of blood and branded with a steel swastika.
Eli Roth's "Thanksgiving" has a scene in which Jordan Ladd is giving oral sex to her boyfriend and halfway through realizes he has been decapitated, a fully nude cheerleader dies in a trampoline-related accident, and an obese man eats a baby.
It's expected some cuts will have to be made, many saying it's a shame the talk of a 'hard R' rating to replace the utterly useless 'NC-17' wasn't talked about sooner as this kind of film is a perfect first candidate.
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Quote from: "crippled_avenger"Eli Roth's "Thanksgiving" has a scene in which Jordan Ladd is giving oral sex to her boyfriend and halfway through realizes he has been decapitated..
Pre par dana sam gledao indi horor DARK RIDE u kome tip na samoj završnici oralnog seksa ukapira da je ribi koja ga zadovoljava neko odsekao glavu. Rothova varijanta zvuči uverljivije... :wink:
QuoteEli Roth's "Thanksgiving" has a scene in which Jordan Ladd is giving oral sex to her boyfriend and halfway through realizes she has been decapitated,
Mislim da je ovo ipak najbolja varijanta :wink:
...glede te dekapitacije tokom oralnog seksa u DARK RIDE, nothing to write home about, kako bi neki rekli, losha maska glave konjolike, ruznjikave iritirajuce devojke koja na krajne kukavichki, blurry prikazan nachin oralno yadovoljava odurno ruznog momka...
Quote from: "ginger toxiqo 2 gafotas"losha maska glave konjolike, ruznjikave iritirajuce devojke koja na krajne kukavichki, blurry prikazan nachin oralno yadovoljava odurno ruznog momka...
Da, sve si pogodio. Evo fotke, da uzivaju i ostali s foruma.
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Tarantino wants to shoot an old-school Kung Fu movie in Mandarin with subtitles in some countries, and release a shorter, dubbed cut in others" says Variety about QT's plans for the next "Grindhouse" film.
...pogledao sam mock trailer "Thanksgiving" Elija Rotha uradjen za potrebe ovogodishnjeg The Grind House...prijatno sam iznenadjen viddjenim prevashodno jer, za razliku od CABIN FEVER i HOSTEL, ovaj mini-uradak pokazuje dosta, dosta, dosta autorovog smisla za humor...
Pa dobro, očigledno je da nakon dva remek-djela koja su bila sasvim ozbiljni filmovi majstor da sebi malo oduška i napravi nešto uslovno rečeno opuštenije.
dobar je trejler, ovaj tenksgiving bih čak i poželeo da gledam, ako se snimi.
posebno mi se sviđa ćureće pečenje na stolu! :!:
Ovoga puta je Roth isporucio nesto zaista zabavno. Bas je onako domacinski 80's retro, svaka cast. Trailer zaista izgleda kao da je nastao pre 20 godina, ima taj shmek. Uz sve navedeno, Eli Roth prikazuje vlastitu dekapitaciju, sto je u mojoj (crnoj) knjizi veliki bonus.
zapravo, pažljiviji gledalac zapaziće par prizora koji odaju da ovo NIJE moglo da nastane pre 20 godina: npr. baš ta scena onscreen dekapitacije, koja se ONAKO kao u trejleru ne bi mogla ostvariti bez cgi-ja.
ali nemojmo sitničariti: poenta nije u tome da se neko obmane, već da se zabavljamo, a OVAKO je zabavnije. :lol:
A još pažljiviji gledalac je mogao da primeti i silikonske dojke na opa-cupa plavuši - ni one nisu mogle da postoje pre dve decenije...
:!: :!:
sjajan je smisao za detalje: recimo, gaće onog recipijenta pušenja, crvene, sa belim (žutim?) ivicama, screaming late 70ies/early 80ies! :!:
ili vaginalno-preteći nož na trampolini (omaž ALONE IN THE DARK?)
Thanksgiving je definitivno simpaticna minijatura vredna paznje.
http://www.laweekly.com/film+tv/film/grindhouse-gang/16045/
holy fuck!!!! this movie's gonna blow your motherfuckin minds so fuckin' hard..fuckin' yeahhh!!!!! :!: :!: :!:
Tarantino is da man, ljubi ga Mamba i klanja, posebno za "Death Proof" i "zene rules"!!! :| :| :|
Quote from: "Black Mamba"holy fuck!!!! this movie's gonna blow your motherfuckin minds so fuckin' hard..fuckin' yeahhh!!!!! :!: :!: :!:
Tarantino is da man, ljubi ga Mamba i klanja, posebno za "Death Proof" i "zene rules"!!! :| :| :|
Mamba, pošalji mi u PM-u bobycount za DEATH PROOF... :wink:
Quote from: "Dr Kunac"Mamba, pošalji mi u PM-u bobycount za DEATH PROOF... :wink:
zar u filma igra više bobija? :shock:
Bobycount je nesto izmedju body-count-a i boobies-count-a...
sisa ima poprilichno, ali fakat, tarantino je napravio feministicki film. kao da je citao loru malvi, 'bem mu patrijarha.
cim dodje do eksploatacije zenskog tijela, a da postoji opasnost od nedostatka ironijskog efekta - missing reel.
pa ti vidi, moj doktore.
Quote from: "Zika Kisobranac"sisa ima poprilichno, ali fakat, tarantino je napravio feministicki film. kao da je citao loru malvi, 'bem mu patrijarha.
cim dodje do eksploatacije zenskog tijela, a da postoji opasnost od nedostatka ironijskog efekta - missing reel.
pa ti vidi, moj doktore.
sad htedoh da napisem zasto Tarantina zapravo toliko volim: jer najbolje poznaje zene i njegovog posebnog talenta da to i pokaze :|
I knew it! Zika i Mamba su vec omrsili brke... Nije da vam ne zavidim, ali mi ovde u Srbijici bar mozemo premijerno da overimo Konje vrane...
ah, pa konji vrani su, koliko cujem, exploitation uzitak prve vrste. :!:
ali, mislim da ce evropski gledaoci biti znacajno osteceni ako ovo bude islo kao dva filma.
Pa nije valjda ovo prvi Tarantinov film koji sadrži grudi? :?
film je nabacio 5 milionceta u prvom danu.
vrlo slabo, u kontekstu onog sta su prognozirali neki ozbiljni prognozicari.
film deluje da ce ponoviti scenario snakes on plane. veliki internet hype, malo zainteresovanosti od strane generalne publike.
mada para je ustvari ok, ako se ima u vidu tri i kusur sata za istripovani, prepunkrvi film.
...weekend total-11.591.000 USD ,shto nije loshe ako se u obzir uzmu kalendar, visoko-konceptualna priroda projekta, ne bash praktichno trajanje( shto, samo po seb, povlachi i manji broj projekcija po ekranu)...
...ali je lose ako se uzme u obzir budzet od 53 miliona.
grindhouse je promasaj u opening weekendu.
bilo je procena da ce bit prvi na top listi, al su ga blades for glory i are we done yet usili momacki...
Quote from: "Dr Kunac"I knew it! Zika i Mamba su vec omrsili brke... Nije da vam ne zavidim, ali mi ovde u Srbijici bar mozemo premijerno da overimo Konje vrane...
a mi ne možemo ni to :?
It was another story for "Grindhouse," which occupied the fourth spot with an estimated $11.6 million. The film, with a reported budget of $53 million, played in 2,624 locations but came nowhere near other recent films from Tarantino and Rodriguez. Two years ago, Rodriguez's "Sin City" bowed to $29.1 million in 3,230 theaters, while Tarantino's "Kill Bill-Vol. 1" in 2003 and "Kill Bill-Vol 2" in 2004 launched to $22.1 million and $25.1 million respectively.
The film, which combines a zombie flick from Rodriguez with a demolition derby by Tarantino, picked up enthusiastic reviews from connoisseurs of down-and-dirty genre filmmaking, but didn't appear to reach beyond the two directors' hardcore fan base. "It's disappointing," Harvey Weinstein, co-head of the Weinstein Co., said. "It performed brilliantly in the East and the West, but not so good in the South. Market research that we did showed there was a resistance to the running time, but this is exactly what the boys wanted to do, reinvent the cinematic experience. It got such great reviews and such great scores, that it's baffling, and we're just going to have to educate the audience."
Weinstein added that because the two movies-within-a-movie -- Rodriguez's "Planet Terror" and Tarantino's "Death Proof"-- will play as separate films internationally, on cable and on DVD, the project's economic model would be vindicated since essentially the company would be fielding two $25 million movies by the two directors.
Ma jeste, sigurno!
A bi li Ziko sherovao sors?
danasnji Hollywood Reporter
For many years director Quentin Tarantino would bring up the idea of a film focussing on the two Vega brothers - Michael Madsen in "Reservoir Dogs" and John Travolta in "Pulp Fiction." The talk never eventuated though and slowly died away. Now, QT tells Slashfilm what might have been:
"I even had a title for it. It was called Double V Vega. It actually would have taken place during the time Vincent was in Amsterdam, when he was running one of Marcellus' clubs in Amsterdam. And Vic goes to visit him," revealed Tarantino.
He adds "But we're a little older now, and since they both died - it would have to be a prequel. I actually came up with a way I could have done it, even being older and dead where they all had older brothers and both of their brothers got together because the two guys died. And they wanted revenge or something like that. But now, they [the actors] are too old for that... I got to say, it's kind of unlikely now."
Hvala Ziko
Neuspeh Grindhousea potvrdjuje da je trend uspeha horora na bioskopskom trzistu u Americi gotov.
Prosle godine, u ovom periodu, svaki horor koji se pojavio, od pocetka godine zaradio je iznad 40 miliona, ili ako je bio low profile, 20 miliona (osim Slithera).
Od Omena i 6.6.2006., osim SAW3, nijedan horor nije premasio 40 mil.
GH i Reaping su dva skupa high profile filma, ciji neuspeh ce imati vece posledice od neuspeha npr. Primevela ili Hitchera, pocetkom godine.
Quote from: "lenny"Neuspeh Grindhousea potvrdjuje da je trend uspeha horora na bioskopskom trzistu u Americi gotov.
to su VRLO preuranjeni zaključci.
pre svega, nedovoljno jak PRVI VIKEND, u slučaju jednog ovakvog filma, nije nesumnjivi znak propasti njegovih finansija: ni PULP FICTION nije imao neko spektakularno otvaranje prvog vikenda, pa gledaj gde je dospeo. word of mouth kod ovog filma biće vrlo važan.
lepo je reko harvi: ovo je film koji treba da EDUKUJE svoju publiku. on se ne dodvorava postojećem trendu, već pokušava da stvori novi.
uostalom, svoje pare će povratiti u evropi i japanu + na dvdu, tako da propast nije sigurno.
kao drugo, i još važnije: čak i ako prihvatim da je grindhouse pukao, propao, prs'o itd. – extrapolacija njegovog rezultata na čitav žanr je, blago rečeno, promašena.
grindhouse ni po čemu nije tipičan horor film da bi se preko njega odlučivalo bilo šta o sudbini horora.
on nije tipičan FILM, pre svega (na stranu žanr): to je jedno iskustvo, experiment, od koga niko normalan nije ni smeo da očekuje blokbaster.
ako prihvatimo tužnu činjenicu da su ciljna grupa horora tinejdžeri i young adults, dakle, oni 14-28 godina, jasno je da je gro te publike rođen POSLE zalaska tog grindhouse iskustva. oni tek treba da otkriju ove filmove i ovo iskustvo.
horor je možda, trenutno, u blago-silaznoj putanji glede zarade na usa box ofisu, ali daleko od toga da je to dovoljan razlog za doom & gloom.
ako pogledaš sadašnji box ofis, na njemu ćeš naći čak 4 naslova.
od toga 2 među prvih 10. i treći odmah na 11. mestu. i četvrti – na 14. mestu.
drugim rečima, u top 15 filmova imaš čak 4 horora.
SVAKI ČETVRTI FILM U TOP 15 JE HOROR, I TEBI JE TO ZNAK OPALOG INTERESA ZA TAJ ŽANR???!!!
ajd pogledaj još jednom listu, ovde:
http://www.boxofficemojo.com/weekend/chart/
pri tom, povrh svega, jedan INOSTRANI, na španskom, zaradio blizu tvoje fixne granice od 40 miliona (trenutno je na $37,164,000).
ej, titlovani film! španski! usred amerike! bio čak i nominovan za neke važne oskare! par njih i dobio!
a ako pogledaš najave horor koji imaju premijere u narednim mesecima, i najave onih koji tek počinju da se snimaju, ako pogledaš koja su sve imena režiseri, koji su sve glumci uključeni, koji bidžeti itd. videćeš - da trend nikako nije gotov.
Prvo, potpuno se slazem da GH nije tipican horor film, odnosno da ga nije olako povezati sa popularnim hororima poslednjih par godina. Medjutim, ono sto ga povezuje sa jednim delom tog trenda je njegova okrenutost sedamdesetim. Dobar deo uspesnih(po zaradi) horora su remakeovi horora iz sedamdesetih, Hills, Dawn of Dead, Omen i sl. Tako da on nije potpuno apartan slucaj.
Drugo to je Horor. Zna se kakve noge(dalje kotiranje na listama) horor moze da ima. A zna se i kako prolaze filmovi QT i Rodrigueza. Tvoje pominjanje PF nije na mestu, jer tada, pre oko trinaest godina, situacija je bilo prilicno drugacija. Pri tom, QT tada nije bio ime koje je danas. Sa ovavkvim startom, film nema apsolutne sanse da stigne, po meni ni 35, a kamoli 50 mil. Da se razumemo, ja bih najvise voleo da gresim, i da njih dvojca naprave nekakvu senzaciju i promene zakone trzista.
Jos nesto, danas u Hollywoodu prvi vikend je najvazniji. Uspeh filma se meri, u 70% slucajeva, po njegovoj zaradi u prvom vikendu. Primer: reditelj Stomp the Yarda, sa pocetak godine, tokom iste nedelje posto je film napravio iznenadjenje na blagajnama, dobio je gomilu ponuda, izmedju ostalog i da ekranizuje Millerov Ronin. Ove godine izgleda da postaje pravilo da 4 ili vise filmova izlazi svakog vikenda. Tu je pitanje percepcije uspeha! Druga stvar je pravi finansijski uspeh filma koji mi mozemo samo da nagadjamo. Ali racunaj da u proseku, zarada u bioskopu hollywoodskog filma predstavlja oko 20% njegovog ukupnog profita, no to je druga prica.
Trece preuranjeni zakljuci su mogli tako da se nazovu posle katastrofalnih rezultata TCM: Pocetka i Grudga 2 u oktobru. Danas je jasno horori ne zaradjuju vise te pare. Pogledaj kako su se kotirali horori 2005. i 2006. do aprila. Cak, ako hoces, pogledaj kako su se kotirali 2004. i 2005. naspram 2006.
Ove godine skoro svi horori su podbacili, manje vise. Pri tom imao si silna pomeranja, Buenavista baca Primeval dva meseca pre najavljenog reklamiranog datuma, Invisible, high profile horor, se pomera, Rogue odlazu i sl.
Panov Lavirint nema apsolutno nikakve veze sa hororom. Bar sto se tice plasiranja na trziste. On je bio predstavljen kao critically acclaimed fantasy film.
Uspeh horora, ovih dve,tri godine unazad, je pocivao na vrlo jednostavnoj racunici. Jeftini su, do 20 mil, i povratak ulozenog novca je siguran, a rizik minimalan, jos mozda i iznenadi.
(Zato Dark Castle nikad nije postigao uspeh sa hororima)
Moja poenta je da ovog vikenda, neuspeh GH i Reapinga, u koji ,iako je odlagan cesto, je ulozena fina para za kampanju, potvrdjuju da stvari odavno vise nisu blistave. Sta imamo Vacancy, Invisible i Hostel 2. Ako bar jedan ne ostvari bar dobar prihod, odnos industrije prema zanru ce se ozbiljno promeniti. Mada ce horor sigurno idalje ostati poligon za uvodjenje stranaca i podmladka u posao
pa, ne znam, ja ovo vidim kao normalnu fluktuaciju, ups & downs of film business; uostalom, sa LOŠIM hororima kakve izbacuju u zadnje vreme, NE ZASLUŽUJU čak ni uspeh koji imaju sada (tj. 4 horora u top 15, od kojih su svi već u plusu, sem GH koji je tek krenuo).
čak i filmovi koji su imali užasne kritike (PREMONITION, HILLS 2), i to ne samo kod ozbiljnih kritičara, nego i kod fanova i na žanrovskim sajtovima, finansijski su vrlo dobro prošli; tako će biti i sa REAPING: možda nije legend in the making, ali povratiće kapital i zaraditi još koje milionče preko već u bioskopima, a onda DVD itd...
tačno je da sadašnji horori prolaze slabije od nekih koji su bili uspešniji prethodnih godina, zato jer su ovi raniji bili BOLJI; i ja nešto slabiju zaradu DANAS u odnosu na NEKOĆ vidim u slabijim hororima DANAS, a ne u slabljenju trenda, kao što si ti kazao gore.
TCM: Početak, Grudge 2. Wicker Man, Pulse, itd su bili LOŠI filmovi koji su pukli zato što su LOŠI a ne zato što su horori i što horore više niko neće da gleda.
interes za dobre horore postoji, a kao što svedoče HILLS 2, Premonition itd, ima ga (još uvek) čak i za loše.
naravno, ako se producenti suviše ulenje i počnu da isporučuju isključivo smeće, i publika će da postane probirljivija; ali ne mislim da horor više nije 'in' (mada, slažem se i ponavljam, nije ni na onom vrhu na kojem je bio pre par godina, što bi bilo možda i previše očekivati). uostalom, horor već punih 10 godina, još od VRISKA, nije imao bitniji pad u popularnosti i prisustvu na box ofisu, u medijima, među zvučnim rediteljskim i glumačkim imenima, stalno je bilo high-profile projekata zajedno sa low-budget iznenađenjima, što je NEZABELEŽEN slučaj sa hororom u čitavoj njegovoj istoriji, s izuzetkom neprekinutog 'cuga' 1973-1982 (circa od EXORCISTA do EVIL DEADA i THE THINGA).
U periodu do 2002., recimo oo 1999., broj horora koji je premasivao zaradu od 40 mil, kretao se od jednog do dva. Tek od 2003. vise od 4 ili 5 horora premasuje tu cifru, ali olako dosezu i do 70-80 mil, ili preko 100 u slucaju grudga ili ringa. Isto tako medju pedeset najgledanijih filmova godishnje procentualno ucesce horora raste. To, sa zadrskom, mozemo uzeti kao parametar porasta njihovog ucesca u godishnjoj produkciji holivuda.
U tom kontekstu, 2007., predstavlja pad u njihovoj uspesnosti.
Premonition je natprirodni triler sa Sandrom Cmulok, nema apsolutno nikakve veze sa hororom, a nije ni ciljao publiku, gore ustanovljenu, horora, niti su oni ti koji obezbedjuju njegovu zaradu.
Reaping sigurno kosta oko 40 mil, toliko inace kostaju Dark Castle horori. Pitanje je da li ce zaraditi i pola te sume.
E sad, ja sam oduvek smatrao da vredonosni sudovi o filmovima nemaju preteranu relevantnost kada je u pitanju uspeh filmova na blagajnama (ne bih da ulazim u tu raspravu). Samtram da je sasvim dovoljno prepoznati kretanja odredjenih zanrova i ciklusa u odredjenom vremenskom periodu. Pronaci razlog i posledice toga, nije ni malo lak i jednostavan posao. Za to treba vremena, sto za samo istrazivanje, sto vremenska distanca koja ce to bolje osvetliti.
Quote from: "lenny"U periodu do 2002., recimo oo 1999., broj horora koji je premasivao zaradu od 40 mil, kretao se od jednog do dva. Tek od 2003. vise od 4 ili 5 horora premasuje tu cifru, ali olako dosezu i do 70-80 mil, ili preko 100 u slucaju grudga ili ringa.
bojim se da ipak pričaš napamet.
pre 2002. si imao više horor multimilionera.
sva 3 VRISKA su imala zaradu preko 100 miliona u periodu 1997-2002.
1999. si, pored njih, imao još i fenomenalne uspehe ŠESTOG ČULA i BLAIR WITCHA.
mislim da je DEEP BLUE SEA takođe prebacio 40 mil $.
itd.
ne priznajem te izmišljene 'žanrove' kao što su 'critically acclaimed fantasy film' ili 'natprirodni triler sa Sandrom Cmulok'.
ne priznaje ih nijedna enciklopedija filma, niti ozbiljnija teorijska studija o filmu i žanrovima, pa ih ne priznajem ni ja.
dok mi neko ne objasni po čemu se ti filmovi (PAN, odnosno REAPING) razlikuju od horora, oni su za mene horori.
dovoljno je videti postere ili plakate da to bude jasno.
na kraju, podsetiću te da je 2007. tek počela, a ti već sudiš o 'padu' koji ona donosi...
Vrisak 3 je izasao 2000. A 1999. sam uzeo, okvirno kao godinu kada je prestao primat Kevin Williamsonovih slashera.
U pravu si 99. ih je bilo 5 iznad 40 miliona, sest ako racunas Sleepy Hollow. Ali Haunting, Deep Blue Sea, ne mogu se svrstati u ovaj trend horora o kome mi pricamo, jer njihovi budzeti su tri odnosno cetiri puta veci od proseka, i imaju release pattern summer tentpolea.
Ali 98. bio je samo jedan Halloween H20, a 97. dva, Znam sta ste radili Scream 2.
Za ostale podatke sam prilicno blizu, proveri sam na boxofficemojo.
Za Pana i Premonition (ne za Reaping), ja govorim o njihovoj distribuciji. Tacnije o nacinu na koji studijo promovise odredjeni film i o tome kako ga publika prihvata. Ta korelacija industrija-publika je kljucna za svako tumacenje zanrova, jer zanr nije toliko stvar teorije koliko je stvar koja ima upotrebnu vrednost, olaksava i omogucava, uostalom, percepciju filma.
A svaki zanr, tacnije podzanr, danas, za sobom povlaci drugaciju publiku, stoga i drugaciji marketing, drugaciju distribuciju i drugaciji odnos prema njemu.
Premonition, covece Ghoule, nije nikakav horor, i nigde se kao takav ne navodi (imdb, boxofficemojo), i ja ga gledao, veruj. Pan ne pripada ovom trendu horora o kome mi pricamo, ako ni zbog cega, ono zato shto nije americki film, te ne deli iste produkcione okolnosti koje su krucijalne za pomenti ciklus!
Ziv mi bio!
pazi, žanr jeste, pored ostalog, i marketinška kategorija, i ja posmatram i u tom svetlu.
ali ona za mene nije primarna.
za žanrovsku pripadnost jednog filma meni je ključno: koja mu je estetička namera, i na koji način, kojim postupcima i obradom (kakvom?) kojih motiva je ostvarena.
to je za mene fundament, a ne šta je određeni departman određenog studija procenio da će da se nosi ovog leta, i pod kojom etiketom će svoj horor ovog leta/jeseni da prodaju.
za mene su čak i izjave samih autora u velikoj meri irelevantne, ili barem sekundarne, kad se govori o pitanjima koja su za mene pre svega FORMALNA.
recimo, gledam juče spec. ed. OMENA, i r. doner tu kaže nešto kao: 'ovaj moj film nije horor, da su me terali da pravim horor, ja bih to odbio, mene horor ne zanima: ja sam napravio jedan mistični religijski triler.'
a u tom istom dokumentarcu i montažer i kompozitor govore o svojim doprinosima HORORU, tj stvaranju napetosti i izazivanju STRAVE.
znači, da li ja sada kao neko ko proučava žanr treba više da verujem donerovim rečima, ili tome šta je pisalo na plakatu filma tamo neke 1976. kada su ga pustili u bioskope kao high-profile gregory fuckin' peck starring 'thriller', ili ću da uzmem i analiziram odnos forme i sadržine tog filma, iz koje je sasvim jasno da se radi o horor filmu, i da uopšte nije potrebno izmišljanje novih (pod)žanrova i kategorija.
u tom smislu, štagod marketing departman kazao o tome, NARAVNO da su meni i PAN i SLEEPY HOLLOW i DEEP BLUE SEA – horor filmovi.
nisu čisti (ako je išta, igde, ikada), imaju elemente drugih žanrova, ali dominantan je horor.
umesto prolazne i lokalne napetosti jedne komedije (da li će stanlio i olio pasti sa one visoke skele 30 spratova niže?) ili trilera (da li će born otkriti svoj identitet? da li će popaj dojl da sustigne zlikovca koji mu beži metroom? da li je sused stvarno ubio ženu?...) svi gorenavedeni filmovi svoju napetost baziraju na podrivanju ontološke sigurnosti čoveka i njegovog mesta u poretku stvari, ukazuju na mogućnost drugih stvorenja, drugih moći, drugih sistema u kojima bi čovek KAO VRSTA mogao imati znatno niže mesto u lancu ishrane... i time izazivaju STRAVU koja nije ista kao ona triler-napetost, suštinski je drugačija.
i u tom svetlu me baš živo zabole za to što nečiji markting neće da zalepi reč 'horor' na svoj produkt zato što u njemu igraju majkl daglas i katarina zeta džons, ili već kojagod 'zvezda', nego ga prekrštavaju u 'psihološki triler', 'mistični triler', 'mračna fatazija', 'bajka za odrasle' i sl. floskule koje znače sve i ništa.
marketing može da na publiku utiče u smislu toga koji će film ODABRATI da (ne) gleda, ali ne može da utiče na njihov DOŽIVLJAJ tog filma, niti na njegov krajnji žanrovski status.
možeš ti do sudnjega dana ALIENA reklamirati kao SF: ako ljudi sve vreme sede na ivici stolice, skaču od šokova, tresu se od jeze, osećaju stravu pri susretu sa jednim sasvim drugim planom stvarnosti u kome ni njihova ljudskost ni sva fensi tehnologija neznamkoje budućnosti ne mogu da ih odbrane od jednog lavkraftoidno-neuništivog monstruma, onda je to, for my money, horor pre svega, uprkos svim 'sf' džidža-midžama koje su tu da 'prikriju' gotsku ikonografiju stilizovanu tako da asocira i na budućnost a ne samo na srednji vek, iako je UČINAK isti kao i u klasičnom hororu.
itd.
meni se cini da se vi igrate gluvih telefona.
ghoul nastupa kao "formalista" i "proucavalac zanra", sto je u osnovi akademska kategorija, dok leni pise iz ugla produkcije, marketinga i distribucije.
leni kaze da ne posmatra zanr kao teorijsku i formalnu konstrukciju, vec ga zanima prakticna upotreba, a ghoul kaze zabole me za praktichnu upotrebu, ako se zanr ne posmatra iz ugla forme.
i zato mozete ovako terati do ujutru, nece se posoliti, a obojica ste u pravu, svaki u svom svetu.
fala, žiko, što si reko očiglednost: jasno je da lenny i ja ne pričamo sasvim istim jezikom, ali važno je da PRIČAMO... ;)
kad on kaže: žanr je u krizi, ja to mogu da prihvatim samo kao 'jedna uska predstava žanra i njegovog marketinga je trenutno u krizi'...
jeste ociglednost, a ipak je odnos izmedju "uske predstave zanra" i teorijskih modela zasnovanih na formi ono sto cini zanr. znam da si ti rekao kako ti marketing (ali i distribucija i odnos studija prema zanru, kao i reagovanje publike) nije primarni modus misljenja u proucavanju zanra, ali mi se cini da je insistiranje na pomenutim estetickim namerama suvise strogo, dok je teza o "podrivanju ontoloske sigurnosti coveka" presiroka.
prvo dodje ekonomska baza, i tu leni ima pravo, iako se slazem da je "kriza zanra" malo ishitrena (hipo)teza.
ipak, ziveo ti sa insistiranjem na FORMI i ESTETICI, jer u ovom nasilju marketinga i "reakcije publike" - teorijska istina o zanrovskim kodovima moze casom pasti u zaborav.
Cekajte molim vas!
Vi sad odoste u cistu teoriju! Ghoul mi se ne raspravljamo oko toga sta je horor, sta je zanr, i zasto smo ovde na ovom svetu! Fino je to sto ti ovde kazes, ali nije poenta u tome.
Ja pricam o odredjenom ciklusu horora, u tacno odredjeno vreme, i njegovom status, odnosno padu, istina hipoteza, u okviru mejnstrim holivudske produkcije.
Ili da pojednostavim, pricamo o tome da horor polako izlazi iz mode, odnosno da zaradjuje manje para nego lane! Cak nismo stigli ni dotle kakve ce to posledice imati kako na holivudski tako ni na svakavi ostali horor!
No, bitno je da pricamo! :)
teorijska istina o zanrovski kodovima jeste stvar koja je nastala na osnovu prethodnih filmova! Zanr nije apstraktna, vec opipljiva stvar koja je u stalnom fluxu, u pokusaju da objasni i sazme stare ali i nove filmove.
no za to postoji ozbiljna literatura i bolovi u glavi koji uz to idu! :twisted:
mislim da je sve nas ovde bolela glava od te literature, tak da sad imamo skor od dve ociglednosti u raspravi. :)
:D
Tarantino u zeljid a edukuje publiku, prikazuje griondhouse filmove iz svoje licne 35mm kolekcije. Grindhouse fest, ovde
http://www.newbevcinema.com/
Quote from: "lenny"Cekajte molim vas!
Vi sad odoste u cistu teoriju! Ghoul mi se ne raspravljamo oko toga sta je horor, sta je zanr, i zasto smo ovde na ovom svetu! Fino je to sto ti ovde kazes, ali nije poenta u tome.
ne znam koliko je ovde očigledno to da sam u priču o tome šta je horor, šta žanr, a šta smisao bitka, ušao samo zato što je leni počeo da mi pokrštava pastvu i da kazuje 'ovaj horor nije horor no je psiho-triler, ovaj horor nije horor no je fantazija', itd.
uspona i padova popularnosti bilo je i u protekloj deceniji, od VRISKA naovamo: nije svaka godine blagdan bio baš blag, ali je posle svakog od tih 'padova popularnosti' dolazio neki RING ili neki SAW, ili GRUDGE, da izvadi stvar i povrati veru publike u bioskopski horor.
znači, ja nisam ubeđen, i ponavljam, prerano je tvrditi da evidentno manja (ali ne DRASTIČNO manja) zarada LOŠIH horora u prvom kvartalu o.g. znači definitivan pad popularnosti horora, i da se stvar neće preobratiti nekim novim surprise DOBRIM hitom već letos ili jesenas.
EXCLUSIVE (keep refreshing for latest): Harvey Weinstein told me this morning that he's "incredibly disappointed" with the half-than-expected $12 mil box office for Grindhouse released on Easter Weekend (a controversial move itself). So much so, that he's considering abandoning the double feature as a single feature concept and re-releasing the Quentin Tarantino/Robert Rodriguez movie around the U.S. "in a couple of weeks" as two separate feature-length movies with additional footage put in. That's what Harvey says The Weinstein Co. is already intending to do with the film's release in Europe: split it into two separate pics, Tarantino's Death Proof and Rodriguez's Planet Terror. "Quentin's movie goes out first in competition at Cannes. He'll do an extensive 4 to 5 month tour. And the trailer will be all Quentin's," Weinstein told me about his European plans. "Then we'll release Robert's a couple of months later. By splitting it up, we're going to do a hell of a lot better internationally than we did here." Weinstein noted that, even in Grindhouse's video deal as well as its TV deal with Starz Entertainment Group, it's been sold as two separate movies. "Our deal with Encore is that they can play it any way they want." So this is why The Weinstein Co. is now deciding to suck it up and do in this country what it probably should have done all along. "First of all, I'm incredibly disappointed. We tried to do something new and obviously we didn't do it that well," Harvey told me today. "It's just a question of how is it going to hang in there. But we could split the movies in a couple of weeks. Make Tarantino's a full-length film, and Rodriguez's too. We'll be adding those 'two missing reels' that's talked about in the movie." (At one point in Grindhouse, a sex scene is interrupted because of "two missing reels" -- one of the many conceits and indulgences.)
Weinstein pointed to several reasons why Grindhouse did so poorly in theaters over Easter weekend. "Our research showed the length kept people away. It was the single biggest deterrent. It was 3 hours and 12 minutes long. We originally intended to get it all in in 2 hours, 30 minutes. That would have been a better time. But the movies ran longer, the [fake] trailers ran longer, everything ran longer," Harvey told me. Weinstein also criticized his own marketing plan. "We didn't educate the South or Midwest. In the West and the East, the movie played well. It played well in strong urban settings. But we missed the boat on the Midwest and the South." But he denies others' thinking that the Grindhouse subject matter was too foreign for mainstream audiences in mainstream theaters. He's wrong, of course. (In many theaters, before the pic began, either a leaflet was handed out or an usher came out to tell audiences that Grindhouse was designed to look old and scratched and to have "missing reels", and that the intermission, including the fake trailers, was also part of the movie. Obviously the managements had received some complaints at earlier shows.) Yet The Weinstein Co. wouldn't give the film to actual Grindhouses, or even the Grindhouse Film Festival, to screen and create buzz. That may be one reason the advance tracking on the film prior to Friday was only so-so. The hype seems to have been all Internet-generated, which is why New Line's Snakes On A Plane flopped.
Weinstein admitted to spending at least $30 million on U.S. promotion and advertising for Grindhouse, which, added to what I'd already heard was a $67+ mil budget and not the low-50s cost he has claimed, makes this at least a $100 mil movie. So the first weekend's take of just $12 mil is all the more disastrous. On the other hand, Harvey (and independent observers) says the film is heavily pre-sold overseas and expects it to do well there. That's not surprising, since many movies recently (Babel, Apocalypto) have run out of gas here only to pump up the total with international box office. But a re-release in the U.S. could prove almost prohibitively costly for The Weinstein Co.: new prints, new marketing, new everything. It may not be worth it, especially with Spider-Man 3 and the rest of this summer's tentpole onslaught just around the corner.
Weinstein admits that he thought the film would do much better than it did and sees the failure of Grindhouse's U.S. release as a rap on his reputation for movie savvy. He's in a bind here because, let's face it, he doesn't dare blame the directors. After all, he is closely tied to Tarantino and Rodriquez personally and professionally and, what's more, he and brother Bob made that relationship and Grindhouse a cornerstone of their fledgling company's financing. (No doubt that's why Harv, who has a long history of imposing his iron will on filmmakers, gave the two directors a pass when it came to Grindhouse's extreme length.)
But Harvey is adamant that the flop will not be a body blow to The Weinstein Co. "We're smart businessmen. Thank God, we protected ourselves economically. I've spent the last year diversifying the company. We're making profits everywhere but the movie business. But on DVD sales, we're doing well," he claims. The Weinstein Company's diversified investments include the home video company Genius Products, the private online community aSmallWorld, the cable TV hit show Project Runway, the independent cable channel Ovation, and, most recently, the Halston fashion brand. Harvey admitted to me that his attention may have been too diverted from the movie biz as a result. "This Cannes, I'm going to change all that. I'm back to being me. We wanted to diversify immediately. Now I have to go back to being Harvey."
http://www.deadlinehollywooddaily.com/what-went-so-wrong-with-grindhouse/
Ghoul ako je tebi nebitno kada je film izasao, i pod kakvim produkcionim okolnostima, ili trzisnim uslovima, i ako ces ti svakom da pristupas trazeci esteticku nameru i univerzalne vrednosti nemamo se mi oko cega raspravljati, te nemojmo!
:wink:
Quote from: "lenny"Ghoul ako je tebi nebitno kada je film izasao, i pod kakvim produkcionim okolnostima, ili trzisnim uslovima,
PA-LIZ!!!
nisam nigde kazao NEBITNO, već samo SEKUNDARNO!
naravno da me zanima i to, i pratim i to, ali iz gore navedenih razloga, smatram MANJE BITNIM, sub spaeciae aeternitas, jer te dnevne floskule dođu i prođu, i utemeljene se u nekim daleko labavijim 'principima' od onih koje ja pratim.
Our Favorite GRINDHOUSE Films - And Hopefully Yours!
Hey folks - Harry here. There's been an awful lot of GRINDHOUSE headlines and titles over the past few weeks and month - but I've been getting an awful lot of letters from folks that are new to this multi-genre classic period of anything goes cinema. What I have here are some of AICN's Regulars - along with a pair of the Alamo Drafthouse's GRINDHOUSE programming, booking and print finding finest you'll ever find. And at the very end of this article - which will be posted - INCOMPLETE - as more and more from the AICN crew send their in... then at the very end, I'll include mine. I'm also going to ask you talkbackers to try to take part.
If you're old enough to remember the time period - share your Grindhouse faves. If you're too young for that, what have you discovered on DVD and Home Video... or at special screenings that you may have attended.
This should be taken as a forum of discovery and celebration for a beloved film geek period between the sixties and the early eighties. Now - let's kick this fucker off with Annette Kellerman, whom I met as a young, hot college gal that was grinding it out to her own particular love of the Grindhouse... Oh yes, Girls do love these films! You better fucking believe it!
Hey Harry-here's my two cents.
Growing up in small town Oklahoma didn't give me much exposure to Grindhouse cinema. My experience with the genre began when I met Tom Joad my freshman year of college. Each week he warped my mind with a new batch of ridiculously bad quality VHS tapes he received in the mail from the various magazines and catalogs he tirelessly searched for new and crazy titles. I had no idea at the time that I was receiving the best cinematic education of my life! By the time we met Harry at the all-night exploitation marathon at QT 2, I was already completely hooked and have been ever since.
I wouldn't say this is my TOP ten (I hate picking favorites), but merely a sampling of some of the best I've seen so far. Where to begin...
1-THE MUTHERS, of course! I have a soft spot for women in prison movies and this blaxploitation/WIP/pirate (I shit you not) masterpiece is a crowd pleaser every time. Fuck Serena!
2-TORSO. The original "Don't"-the trailer has the announcer saying "Torso!" over and over. The film itself is solid Italian gore. "Torso! Torso!"
3-FIGHT FOR YOU LIFE. Absolutely the most kickass home invasion flick I've ever seen with a great twist on racial stereotypes. Deadwood fans will love the disturbed performance from a very young William Sanderson.
4-GHETTO FREAKS. I saw this with Tom Joad the night we met Harry at QT 2, and I've never been the same since. This film gets my "so bad its great" award. A totally weird pseudo social message film with fantastic trips scenes.
5-ABBY. I have many fond memories of watching this blaxploitation version of The Exorcist in Harry's backyard with the crew. Yes, Harry actually owns a print of this gem.
6-THE BIG DOLL HOUSE. Another women-in-prison classic, this flick brings together one of my favorite trios-Pam Grier, Sid Haig, and the brilliant director Jack Hill. Fans of Jackie Brown will notice the familiar "99 Years" sung by Grier herself.
7-BROTHERHOOD OF DEATH. Not just another blaxploitation flick, this film takes us on a journey to Vietnam and then back to the deep south where a trio of hometown boys (NFL stars) seek revenge on the local Klan.
8-GATES OF HELL. I am a Fulci fan. I am also a fan of watching a girl literally puke up her guts (intestines and all) and a guy getting his brains drilled out. Terrific splatter gold.
9-PRETTY MAIDS ALL IN A ROW. I had to throw a cheerleader movie in here somewhere and what better testosterone fest than one starring Rock Hudson as the mack daddy of them all? Throw in murder, plenty of T and A, and Angie Dickinson and I'm in every time.
10-ROLLING THUNDER. A classic revenge tale starring William Devane and a fresh faced Tommy Lee Jones. I absolutely swoon every time I see Tommy hand William the shot gun as he says, "Let's go get 'em" in his most serious deadpan.
There are so many more I'd love to name, but I guess 10 is a good limit!
Cheers,
Annette Kellerman
Next is Capone - up there in Chicago - he's our man on the scene. He's a bit out of his territory, but he's put together a pretty fun list. Here ya go...
Hey everyone. Capone in Chicago here. Although I'm the the underworld kingpin of Chicago today, I actually grew up in a Maryland, in an immediate suburb of Washington, D.C., so I had a fair amount of access to three very important outlets where grindhouse cinema: a college campus (specifically the University of Maryland, which had a student-run movie theater at the time that played some fucked-up stuff); drive-ins in Maryland; and a few choice run-down movie houses in D.C., specifically Georgetown (the long-dead Key Theatre springs to mind). These places wouldn't know a first-run movie if it bit them in the poop-hole, and thank God for that.
I don't pretend to be any kind of expert on the history of grindhouse, and I'm not even sure if all of my picks qualify as classic grindhouse cinema. But each in their own special way, these are the films that messed me up, opened my eyes, and/or introduced me to a kind of filmmaking and theater-going experience that the local six-screen multiplex near my house just couldn't give me. These are by no means the best films I could think of. They are more the ones that just took me years to shake, with little success. Some of these are entry-level grindhouse choices, your basic 101 stuff, but there are a couple of selections I'm guessing nobody else is going have. I'm not trying to impress anybody with my vast knowledge of obscure cinema; I just want to give you a little gruel for thought. In no particular order...
MANIAC (1980) -- A slasher film (complete with nice Tom Savini gore effects) that isn't just a slasher film. It includes a competent and frustrating love story, a simple psychological profile, and a gritty atmosphere. This is that rare sick freak who actually makes us believe he's interested in bettering his life. Then the blood starts a-flowin'...
ALICE IN WONDERLAND (1976) -- The only musical-comedy on the list. If you don't see the X-rated version, well you're not really missing that much. Never miss an opportunity to have one of your favorite children's stories turned into a fuck fest, complete with some of the hairiest...um, rabbits...I've ever seen.
ILSA, SHE WOLF OF THE SS (1975) -- Is there any taboo this film didn't shatter? Nazi's fucking, torturing, raping. A dinner scene that defies good taste. A harrowing murder by melting ice block. Boiling flesh, pain experiments. I'm not exactly scoring points for originality here, but there's a reason this film turns up on some many lists like this.
SLAUGHTER OF THE VAMPIRES (1962) -- I obsessed over vampire movies for most of my life. Christopher Lee will always be my favorite Dracula, but Dieter Eppler ("the Italian Christopher Lee") in this DRACULA ripoff directed by Roberto Mauri, injects a whole lot of ferocity and seductiveness into his performance. I was reminded of this film because it just came out on DVD this year, and I strongly recommend checking it out if only for the stunning women on display here.
DARK HABITS (1983) -- Put simply, this is the film that introduced me to the twisted mind of Pedro Almodovar. If the only films by the Spanish master that you're familiar with are his more mature, colorful, spiritually uplifting works, you don't know what you're missing. Nuns on drugs, nuns writing sexually explicit novels, nuns acting like maniacs. There was a time when Almodovar's overt attacks on the church were the stuff of legend. Before he was a director who wrote Oscar-worthy roles for women, he was an angry gay man who frequently cast the exquisite Carmen Maura as his voice piece. In other films of this era, he showed us gay and straight sex as a weapon and was as compelling as he is today but in far less subtle ways. But DARK HABITS is a great jumping-off point for his early, passionate era.
THE STREET FIGHTER (1974) -- First time I ever saw Sonny Chiba. 'Nuff said.
SHOCK CORRIDOR (1963) -- Sam Fuller's masterpiece about a journalist who strives for authenticity and answers, and commits himself into an insane asylum to solve a murder. A film as insane and out of control as the characters in it. So many great performances and a few of them seem a little to real.
CANNIBAL HOLOCAUST (1980) -- What can I say about this? Again, I'm not bowling you over with originality, but tell me you don't remember the first time you saw this. As much as the simulated rape and hideous killings bothered me when I first saw this film, it was the very real animal killings that really shook me up and stayed with me.
DISCO FEVER (1978) -- A year after SATURDAY NIGHT FEVER, this piece of shit dance movie came out that has next to nothing to do with disco, although you may feel slightly feverish after watching it (which may be impossible, since it's not available on VHS or DVD). All I remember about this movie is that Casey Kasem is in it, and it's about a club owner who arranges for a former teen idol's comeback as part of some ridiculous revenge scheme. The music is forgettable; what little dancing their is looks like it was choreographed by a muppet. So why am I putting this movie on my list if it sucks so bad? Because so much grindhouse is shit, and this was the king of the shithouse in my mind.
MULTIPLE MANIACS (1970) -- Growing up so close to Baltimore, it's not surprising that I was exposed to John Waters and Divine at an early age. Although he would never remember it, Waters was the first filmmaker I ever met, during a retrospective of his work in D.C. When I went to shake his hand, the look in his eye told me "Who let this kid into my movie?" But he was so nice and funny, and his films were the first ones that set me on a path toward loving and appreciating perversity in its purist form. Lady Divine and her group of wacky kidnappers were my heroes. But what about this film sends it into the stratosphere of my world? Two words: Lobster Rape.
Capone
Got A Grind You Want To Give Me?
Next we have a short and sweet list from Lars Nilsen! Who? Well, Lars is the brilliant demented mind behind the Alamo Drafthouse's WEIRD WEDNESDAY onslaught of grindhouse titles. Lars is responsible for the further cinema education of the Austin area. The free screenings that he hosts every Wednesday night at Midnight at the Alamo are dedicated 100% to the greater glory of cool obscure weird fucking movies that you come away thanking God, Lars and The Alamo Drafthouse for showing you. Here's his list:
Harry,
I particularly love:
THE CANDY SNATCHERS - Pretty much perfect - harsh seventies bringdown.
TRUCK TURNER - Best dialogue. See it with a crowd!
SCREAM BABY SCREAM - hard to choose a Joseph Adler movie but this one rocks
the groovy horror angle.
TWILIGHT PEOPLE - The ambience, the music, a perfect summer night movie.
DARKER THAN AMBER - Before Robert Clouse became typecast as the "assault on
the impregnable fortress" director.
HELLS ANGELS ON WHEELS - the best biker movie ever.
VENUS IN FURS - the Jess Franco one, super Euro cool.
MR. SCARFACE - not DiLeo's tippity-top best (CALIBRE 9, MANHUNT, THE BOSS)
but it's such a cool plot.
BLACK COBRA - My favorite Laura Gemser/Joe D'Amato collaboration - magical.
THE NUDE VAMPIRE - The ultimate Jean Rollin serial homage.
It will be different tomorrow but that's where I'm at right now.
Best,
Lars
Who can follow Lars? The Boss o' Lars... that's right Tim League himself. He took a little bit of time out of his amazingly busy schedule building the ALAMO DRAFTHOUSE At The Ritz and Attending the Brussels genre film festival searching for the latest and greatest for FANTASTIC FEST this September. As the owner and operator of perhaps the last great Grindhouse theater of them all... that's still kicking it, long after the craze had alleged died to the morality and financial realities thrust upon it by Ronald Reagan. Here's Tim League...
I'm going to give you a list of some of my all-time favorite Weird Wednesday titles. That series has been my Grindhouse experience for the past 6 years.
10) Emma Mae (Black Sister's Revenge)
9) Darktown Strutters
8) Night Warning
7) Abar the 1st Black superman
6) Bonnie's Kids
5) Devil Times Five
4)Toys are not for Children
3) Poor Pretty Eddie
2) Snakes
1) Candy Snatchers
Now we have Quint's look at the world of GRINDHOUSE films. He was too young for the first go around, but thanks to the Drafthouse, Tarantino, Me and Home Video - Quint knows what he's talking about. Here ya go...
Ahoy, squirts! Quint here with my list of 10 Grindhouse movies that would be essential viewing if I was King of the World.
My thought was to try to pick a favorite from all different genres. Kung Fu, Italian Horror, Spaghetti Western, American Horror, Blaxploitation, Sexploitation, etc. In no particular order...
BLACK BELT JONES
This would be one of the more mainstream features, with Jim Kelly at his charismatic best. It's smart, funny, a bit gritty and rough, but it flies. "The son of a bitch threw his panties in my face!" "I want a piece of that cookie." "My cookie would kill you." Gloria Hendry was one hot mama, Jim Kelly was the shit and Scatman Crothers was the coolest cat in town. Absolute classic, with one of the best soundtracks ever.
CANNIBAL HOLOCAUST
Ruggero Deadato's infamous flick. It was banned damned near everywhere, with some of the most incredible and grotesque gore ever. Largely shot documentary fashion (BLAIR WITCH PROJECT was accused of ripping of its concept) about a group of youngsters making a documentary on primitive tribes in the Amazon. They run into some cannibals and you get genital mutilation, a girl hooked through her tits and strung up, plenty of real life footage of animal killing and the tip of the top... a skewered human being, stuck going up the butt, pointy end coming out of the mouth. You'd never see this one in multiplex that didn't have both Alamo and Drafthouse on the ticket stub.
SLEEPAWAY CAMP
This one might have come out a little after the Grindhouse trend ended, or at least when it was tapering off, but it's certainly a movie that was made for that experience. On the surface it's a FRIDAY THE 13TH rip-off, set at a summer camp. Lots of killer POV, ridiculous deaths, cartoonish and crazy characters (including more bo-hunks per scene than about any other film and an openly pedophile cook), kids cursing and the craziest fucking ending and twist of any film of the type. It looks like it was made for $2,79, cast almost completely with non-actors and is one of my favorite movies.
36TH CHAMBER OF SHAOLIN
Gordon Liu's classic. There had to be one period Kung Fu flick here, set in ancient China that has the classic Kung Fu hero's journey. Young man gets beat the fuck up. Young man undergoes a long and intense training to become a super badass. Young man gets revenge. A Shaw Brothers masterpiece.
THE BLACK SIX/BROTHERHOOD OF DEATH
I'm cheating here. These are two different movies, but I'm going to give them the same spot. I saw THE BLACK SIX at the Alamo at one of the Weird Wednesdays years ago and I saw BROTHERHOOD OF DEATH at an early Tarantino Film Fest.
THE BLACK SIX is a revenge story about a bunch of insane white bikers who see a black high school student dating a white girl, so, naturally, they kill him. Bad news for him is that the kid's brother is a member of an all-black Biker gang, composed of football players turned actors, including Mean Joe Green. This flick flies, combining three great Grindhouse genres... the revenge flick, the biker flick and the blaxploitation movie.
BROTHERHOOD OF DEATH follows a group of friends who return from a tour of Vietnam to find that KKK has taken over their town. Both are amazingly entertaining films, with non-actors depending on just their own charisma to keep the movie going.
THE BIG BIRD CAGE
No Grindhouse list is complete without a Jack Hill movie. There are many I could have chosen... Like THE SWINGING CHEERLEADERS or SWITCHBLADE SISTERS or COFFY or THE BIG DOLL HOUSE.
I'll go with THE BIG BIRD CAGE, though. It's about a slave camp where women are forced to process sugar in a giant wooden contraption. Pam Grier and Sid Haig are mercenaries who essentially orchestrate a big break out. Lots of sex, nudity, violence and sweat.
DJANGO
This might be a bit of an odd pick. Maybe it's right on the money, I'm not sure, but I know that I love it and it's not a big studio flick. This 1966 Spaghetti Western from Sergio Corbucci kicked my ass. Franco Nero stars as a gunslinger that drags a coffin behind him everywhere he goes. He lets no one touch it. He's that great Spaghetti Western type, the anti-hero who outwardly doesn't give a good goddamn about anybody, but stands up for the abused and kicks the evil bastards' asses. Robert Rodriguez said he stole the concept of weapons in a guitarcase for his Mariachi from this movie.
CITY OF THE LIVING DEAD
This is my favorite Lucio Fulci movie. He gets a lot of love for THE BEYOND, which I also really like, but CITY OF THE LIVING DEAD is all over the fucking place. It's fucking crazy. You have a girl crying blood before the evil ghost of a priest who committed suicide forces her to puke up all her organs just by staring at her. Some of the most outrageous gore, crazy sound effects (there are literally jungle sounds in a cityscape) and creepy-ass living dead ever.
DIRTY MARY, CRAZY LARRY
This is another one of my favorite movies. It's the car-chase entry to the list. You got Susan George... hot hot hot Susan George... and Peter Fonda on a carefree, reckless run from the law, represented by Vic Morrow (who does have a creepy-in-hindsight scene in a helicopter). Fonda is at his charismatic best and Susan George... well, like I said above... she's hot. The writing's surprisingly strong and the ending is bliss.
THE SIX-THOUSAND DOLLAR NIGGER
Is this movie a trip... This is another Alamo Weird Wednesday film. I've seen it projected twice now. The producers, probably wisely, changed the title to the safer SUPER SOUL BROTHER for video, but this is how it was released. It's a vehicle for Wildman Steve, a small comedy sensation, a sort of poor man's Rudy Ray Moore, about a drunk hobo who is pulled off the streets by a midget doctor and his evil financers to test a serum that'll turn a person into a sort of superman. The catch is that after 7 days the person dies. Wildman Steve is the bum and he is so amazingly on in this movie. This could be one of the best Weird Wednesdays ever run. It's hilarious, incredibly dated, so poorly made... but there's Wildman Steve and a midget doctor! It really is an undiscovered classic. It's like if Ed Wood made a blaxploitation movie at the height of his talent and enthusiasm.
There's my list. Hope there weren't too many repeats in there. I love all the above movies and if you have any inclination towards exploitation fare at all, do try to give all of them a watch, if you can find them. You might not like every single one as much as I do, but I guarantee each one offers up something different.
-Quint
Quint
Ok - stay tuned throughout today for updates from Moriarty, Tom Joad, Father Geek, Myself and many more. AND - if you feel you have the geek grindhouse cred to submit your own list to me... drop it to HK@AintItCool.Com with the Headline - "I Got Ground At The Grindhouse!" and I might include it here with the others. Stay tuned for more!
Odgledao sam podnosljivi skriner i evo par utisaka:
Ocekivao sam da budem oduvan i to se nije desilo.
Stvar izvlaci Eli Roth sa jedinim uspelim trejlerom, koji funkcionise kao kratki vic ili celina. Ostali trejleri mi jednostavno nisu bili dovoljno efektni.
Rodrigezova epizoda je vizeuelno dinamicna i ima par simpaticnih krvoprolica. Samo par, nista epohalno. U dramaturskom smislu ne drzi i ne udara u centar. Cak ni u akcionim scenama. Zamislite los nastavak Duhova sa Marsa.
Tarantinova epizoda ima sjajno uradjen prikaz ceonog sudara iz tri puta u kome gine cela prva postavka riba. Iako se dosta prica, pitko i simpaticno, nije me to nesto mnogo odusevilo. Sve je Ok ali nije nista specijalno.
Počeo sam da gledam GRINDHOUSE.
Prvo ću se osvrnuti na trejlere.
Trejleri su najbolji deo ovog filma. Teško ih je rangirati pošto su svi odlični.
THANKSGIVING - genijalan trejler ali gde je ovakav Eli Roth kada treba da se radi celovečernji film?
DON'T - savršeno skinut šmek dubbovanog Giallo filma sa hammer atmosferom. Wright sjajno koristi glas spikera i odlično stvara atmosferu dabovanog filma koji zato nema dijaloge u trejleru a sa svojim senzacionalističkim kadriranjem i rezovima stvara pravu bavijansku atmosferu. Voleo bih da gledam ovaj film.
WEREWOLF WOMEN OF THE SS - najpotcenjeniji trejler od svih. Meni je fenomenalno legao zato što odlično simulira tu kabaretsku, dekadentnu atmosferu serioznih scena u ovakvim filmovima koje uvek u sred totalnog exploitationa imaju te dodire snažnog pijeteta. Vrlo je autentično skinuo atmosferu tako da mi se čini da ovaj film ne bi gledao pošto znmam, kako to izgleda kad traje stotinak minuta. Trejler malo kvari anarhičan twist ending.
MACHETE - izuzetno zanimljiv trejler, odlično skinuta atmosfera iako Rodriguez u nekoliko situacija citira štošta što smo već videli u DESPERADOu. zanimljivo je da stvarni film SHOOTER Antoine Fuque sada ide u bioskopima i ima isti plot kao MACHETE.
PLANET TERROR - Ovaj Rodriguezov film me je najviše podsetio na jedan film koji niko od nas do sada nije gledao, pa ni Rodriguez, ali se nadam da ćemo ga svi gledati, a to je pančevački zombi horor ZONA MRTVIH.
No osnovu Todorovićevog i Konjevićevog scenarija, a sada i na osnovu Rodriguezovog filma, vidim kakve posledice može ostaviti nekontrolisano gledanje Cannon filmova. :D
Mislim da bi ovaj film trebalo da bude jako dobra škola ekipi ZONE MRTVIH da izbegne neke od grešaka koje je napravio Rodriguez pošto u suštini pokušavaju da naprave istu stvar.
Mislim da će ekipa ZONE biti oduševljena kada bude videla koliko Rodriguez misli na njihovoj frekvenciji, ne samo u filmu već i u trejleru za MACHETE. I PLANET TERROR zaista može biti jako dobra lekcija, i tu se uopšte ne šalim.
Prvo ni sam Rodriguez, iako živi u zemlji u kojoj su svi filmski kanoni izmišljeni, ima malo problem da nam proda određene segmente svoje stilizacije. Naime, njegov film se dešava sada, ove godine, a on povremeno, spontano kliza nazad u sedamdesete i osamdesete i ne samo da stilski evocira te filmove već ih evocira i po sadržaju, ui po izvesnim elementima dizajna. Otud, na nivou dizajna Rodriguez jako meandrira između nečega što je savremeni film i nečega što je izvorni grindhouse i paradoksalno najbliži je izvornom grindhouseu onda kada i snima predele, ljude i automobile koji liče na to vreme.
Isto tako u odnosima među likovima, Rodriguez ne uspeva da postavi jasnu liniju iz kog su oni filma. Tu ima i De Palme, i Carpentera i raznih nekih Cormanovih pravaca, i sve je to na svoj način grindhouse ali je jako nekoherentno. Za razliku od KILL BILLa gde su takođe pravljene posvete raznim žanrovima ali je to sve bilo savršeno spojivo u Tarantinovoj viziji.
Rodriguezov film se zbog nedostatka tog unutrašnjeg tkiva, i zajedničkog stilskog ključa pretvara u jednu papazjaniju raznih atrakcija, koje su spopradično genijalne, ali nisu emotivno pripremljene i samim tim nemaju adekvatnu težinu. Tome bih još dodao da su te atrakcije u retkim momentima elaboriranme, talo da senzacionalističke fotkr ili faze iz trejlera nisu mnogo produbljene u samom filmu, kako scenaristički, tako ni rediteljski. I to je šteta pošto je ovaj film, iako prepun ripper skevenci, akcije, gorea, suspense momenata u suštini dosadan, nerazvijen na makro i mikro planu, a u sebi na nivou samih scena ima odličnih ideja i rešenja za dva filma.
U svakom slučaju, PLANET TERROR je zanimljiva diverzija, koja se bavi atraktivnim stvarima, sa odličnim glumcima, na odličnim lokacijama, ali ne uspeva da dobaci ni do trećine zbira tih kvalitetnih elemenata.
Hmmmm... Aj odlgedaj i Tarantina pa da čujemo poređenje (BTW, kakav je kvalitet skrinera? pretpostavljam da gledaš sa skrinera, al ja nisam hteo da skidam pre nego što čujem umirujuće reči o dobrom kvalitetu). Po Internetu su kritike prilino raznolike, neke uzdižu Rodrigeza jer je 'zabavan' a pljuju Tarantina jer je 'dosadan', a neke obrnuto, kažu da je Rodrigez 'isprazan' a Tarantino 'jako pametan'.
...GRINDHOUSE, koji sam ja dobavio i koji je jedini dobacio do Srbijice, je bash, bash pristojan screener, ton je pristojno razaznatljiv a slika savrsheno mirije( da budem precizniji, radi se o snimku standardnog, 3/5 brojchano gledano, tele-sync kvaliteta)...
Quote from: "ginger toxiqo 2 gafotas"...GRINDHOUSE, koji sam ja dobavio i koji je jedini dobacio do Srbijice, je bash, bash pristojan screener, ton je pristojno razaznatljiv a slika savrsheno mirije( da budem precizniji, radi se o snimku standardnog, 3/5 brojchano gledano, tele-sync kvaliteta)...
Hm, hm, dobro, videćemo da li 'ton je pristojno razaznatljiv' važi i za nas nagluve.
načitao sam se kritika za grajnd kor, i sve mi se čini da je recepcija filma u kritičarskim krugovima veoma ambivalentna, nesigurna i neodređena. toliko opštih mesta i papagajskog ponavljanja skoro nisam čuo. te "tarantino je i dalje u svom stilu", te "njegovi briljantni dijalozi", te "rodrigez je napravio treš film, tako da mu ne možete zameriti što je treš", sve do njujorkerove kritike sasvim zbunjenog tipa koja veli da u grajndhauzu ima previše sečenja i komadanja ljudskog tela, što u današnje doba nije nimalo zabavno.
pomalo je smešno da amerikanci ne umeju da prepoznaju reinterpretiranje svog sopstvenog pop-kulturnog nasleđa, i smešno je što ovaj film tumače jedino kao, eto, gotivan pokušaj dvojice kul tipova da naprave film nostalgije za svojom mladošću.
kao da je ono što film pokušava da kaže i na čemu se bazira u totalnom nesporazumu sa recepcijom na koju nailazi kod kritike.
što je zanimljivo za nas, koji se oduševljavamo ko kučići tim istim stvarima kao i tarantino i rodrigez, a većina američkih kritičara to posmatra čak ne ni sa prezrenjem, već sa totalnim nerazumevanjem i nemarom.
ali ne treba se čuditi. ipak su francuzi, a ne ameri, stvorili film noir i protumačili ga ao kritiku američkog društva, i opet su francuzi rekli za rodžera kormana, "His films are a desperate cry from the heart of a grotesque fast food culture." jedino što to stoji na verziji scenarija za true romance, tako da je tarantino svestan kakvu virtualnu viziju evropljani gaje o američkoj pop kulturi, i treba razmisliti kako i zašto radi to što radi.
po meni je, opet, nemoguće pravilno tumačiti death proof, pa ni planet terror, a nemati u vidu recentnu filmsku teoriju. death proof je napadno svestan feminističke teorije i teorije aparatusa. rekao bih u stvari da je grindhouse, osim evociranja uspomena na istinsko bioskopsko iskustvo, double feature tela i teorije, i izgleda da je, nažalost, napravljen pomalo iza horizonta kritičarskih očekivanja.
Hm, moram da priznam, Žiko, da teorija može bti jedno a praksa drugo. GH još nisam odgledao, ali ako je Kil Bil ikakav indikator, sva živa konceptualizacija, surovo referenciranje i post-postmodernistički citati mogu funkcionisati na intelektualnom planu, a da te film estetski ipak ostavi hladnim ili čak pomalo iznerviranim.
Uzgred, nisam siguran da se 'mi ovde oduševljavamo ko kučići za tim stvarima' pošto su, barem meni i Sin Siti i Kil Bil bili primeri možda smelosti u poslovnom ali ne i u umetničkom smislu i, naprosto, nisu mi previše prijali...
Takođe, voleo bih iz svoje pozicije neznalice da čujem detaljnije o tome kako su francuzi izmislili film noir, s obzirom da ja živim u u ubeđenju da je njihov černi talas došao dobru deceniju i kusur kasnije od američkog. Ovde ne dovodim u pitanje tvoje tačne opservacije na odnos francuskog noira prema Americi, samo se pitam da li su Hjustonovi filmovi iz četrdesetih i pedesetih noir or what?
Quote from: "Meho Krljic"Takođe, voleo bih iz svoje pozicije neznalice da čujem detaljnije o tome kako su francuzi izmislili film noir, s obzirom da ja živim u u ubeđenju da je njihov černi talas došao dobru deceniju i kusur kasnije od američkog. Ovde ne dovodim u pitanje tvoje tačne opservacije na odnos francuskog noira prema Americi, samo se pitam da li su Hjustonovi filmovi iz četrdesetih i pedesetih noir or what?
oduševljavamo ko kučići se odnosilo na B filmove, ne na kill bill i sin city, u pogledu kojih se lično slažem, da prostiš, s tebe.
što se film noira tiče, o tome može kunac da ti kaže mnogo bolje od mene. film noir kao pravac i žanr nije postojao u americi, koliko je meni poznato, već su taj termin izmislila dvojica francuza, Nino Frank u levičarskom "L'ecran français" i Žan Pjer Kartije (Jean Pierre Chartier) u nešto konzervativnijem "Revue du cinema" . sa njima, i, nešto kasnije, sa knjigom Raymonda Bordea i Etiennea Chaumetona "Panorama du film noir americain" (1955), kamenom-međašem teorije o "film noiru", u stvari se i rađa taj termin.
i kad vidiš kako su ova potonja dvojica okupili sve te filmove pod
noir kišobran, i kako su ih tumačili - dolazimo do te evropejske vizije američkog B filma, koja se nikad nije sasvim primila u samoj americi.
Hm, okej.
a evo i još detaljnije:
Zaključak Džejmsa Narimora u knjizi More Than Night: Film Noir in It's Context je da, kod Bordea i Chaumetona, noir nije "opisni termin", već
"name for a critical tendency within the popular cinema – an antigenre that reveals the dark side of savage capitalism. For Borde and Chaumeton, the essence of noirness lies in a feeling of discontinuity, an intermingling of social realism and oneiricism, an anarcho-leftist critique of bourgeois ideology, and an eroticized treatment of violence" .
a kad pitaju roberta mičama, on kaže - ma kakav onirizam i socijalna kritika, to je bilo tako mračno zato što smo imali samo dva reflektora.
pošto se sve bojim da u ovo doba noći nisam sasvim jasan, oću reći da su ameri 40ih i 50ih pravili neke krimiće, a onda su francuzi sve te raznorodne filmove okupili pod terminom film noir, po nekim konstruisanim (ovo ne kažem u negativnom smislu), teorijskim kriterijumima. otprilike se vidi po kojim iz navedenog citata.
to šta je kasnije u praksi francuski film noir je nešto drugo...
Mičam uspostavlja toliko potrebni balans... :)
Anyway, hoću da kažem da sasvim prihvatam ideju da je termin a za njim i ideološko/ estetsku definiciju žanra izmislio Francuz, i da su oni zatim retroaktivno lepljeni na odgovarajuće filmove. Što nije u suprotnosti sa činjenico, da su takve filmove Ameri radili još od kraja četrdesetih.
Edit: dok ja ovo otkucah, Žile reče istu stvar lepšim rečima.
...just right! Francuzi su samo teorijski uobličili ono što su Amerikanci u praksi već radili, mada su neki od njih, Dassin i Clouzot, dosta dobrog doprineli široj noir priči...
...o tome, nartavno, mnogo više i mudrije od svih prisutnih može kucnuti profesor/doktor Kunac...
*** John Huston možda i nije baš najzgodniji za ogled jer je, zahvaljujuci svojoj veštini, geniji i malo sreći, uspeo da protegne svoju karijeru kroz nekoliko decenija i gotovo sve žanrove/ stilove...whatever i stvori sjajna dela, mada THE MALTESE FALCON, KEY LARGO, THE ASPHALT JUNGLE i BEAT THE DEVIL nesporno spadaju u sam vrh ne samo njegovog opusa nego i uopšte
Quote from: "ginger toxiqo 2 gafotas"...just right! Francuzi su samo teorijski uobličili ono što su Amerikanci u praksi već radili, mada su neki od njih, Dassin i Clouzot, dosta dobrog doprineli široj noir priči...
...o tome, nartavno, mnogo više i mudrije od svih prisutnih može kucnuti profesor/doktor Kunac...
*** John Huston možda i nije baš najzgodniji za ogled jer je, zahvaljujuci svojoj veštini, geniji i malo sreći, uspeo da protegne svoju karijeru kroz nekoliko decenija i gotovo sve žanrove/ stilove...whatever i stvori sjajna dela, mada THE MALTESE FALCON, KEY LARGO, THE ASPHALT JUNGLE i BEAT THE DEVIL nesporno spadaju u sam vrh ne samo njegovog opusa nego i uopšte
Da, meni su baš na umu bili Maltese Falcon i Asphalt Jungle kao filmovi koje sam još kao dječarac upamtio kao definiciju noir žanra u američkom fimu.
Mene ja PLANET TERROR toliko iznurio da zaista nisam imao snage da se odmah upustim u Tarantina, a još imajući u vidu da sam pouzdano čuo da je nepodnošljivo dosadan nisam imao snage ni da ga načnem. No, pogledaću. :oops:
Samo opušteno, mada, navikli smo da ti prvi golim grudima jurišaš na bajonete, da mi ne bismo morali pa onda to očekujemo u svakom novom slučaju.
Da smo partizani ja bih uvek bio onaj koji ostaje ranjen u šumi i traži da mu ostavite bombi da uspori okupatore koji su u poteri.
Uvek me ostavljate sa suzama u očima, mada vam je nekako i drago što ste se rešili debelog i što ima ko da ostane.
Gledaj to sa svetle strane, ako bomba zakaže, možeš da računaš na povećani screen-time u scenama u kojima te Švabe muče na sve moguće načine da bi im otkrio sastav, naoružanje, naređenja i smer kretanja jedinice kojoj si pripadao. Neki su na tome karijere napravili.
...uh, ova stilska figura mi momentalno natera suze u oči jer me podsti anti-hita BELLE&SEBASTIAN "I fought in the war and I left my friend behind me...", ali i na segment sa najurenim tifusarima iz Velimirovićevih VRHOVA ZELENGORE...
Baš sam Vrhove Zelengore imao na umu pišući prethodni post. Dan danas mi je neshvatljivo da su nas sa šest ili sedam godina iz ideoloških razloga terali da gledamo film koji nas je bez ostatka traumirao scenama ljudske patnje, mučenja i koječega...
[quote="ginger toxiqo 2 gafotas] segment sa najurenim tifusarima iz Velimirovićevih VRHOVA ZELENGORE...[/quote]
KAKVA JE ŠANSA DA NEKO OKAČI TAJ LEGENDARNI HOROR INSERT NA YOUTUBE???
...glede ...ZELENGORE, meni je pored prizora proteranih tifusara pokrivenih poderanim šatorskim krilom, još strašnija (bila) scena u kojoj nemački vojnici spaljuju dvoje odmetnutih partizana(muški specimen mi je, iz nekog razloga,ostao urezan u pamćenju kao lider/ macan iz rahmetli trija MIRZINO JATO!!!), skupa sa buljavim hitlerjungenovcem koji je odbio naređenje( da li to beše Zoran Cvijanović)...još mi , povremeno, ušima odjekuje njegov vapaj "hiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiilfeeee!!!"... da li je to bi on??? da li je to uošte taj film???...
...indoktrinacija at its sickest!!!!
Taj film ima toliko exploitation scena da sam ja narednih nekoliko večeri spavao sa upaljenim svetlom. A to mi se čak ni u tim godinama nije nikad dešavalo.
A tek ona serija NEPOKORENI GRAD?
Kada muche Milana Strljica sa let lampom i sa pacovom Karlom koji ce da mu pojede utrobu?
I to su pustali u osam uveche, bas pred spavanje.
Ta serija je imala toliko muchenja - secam se i nekog vadjenja oka, ili necheg slichnog - da bi to u stvari bilo super grindhouse iskustvo da se gleda sa Hostelom.
Baš sam razmišljao da li da raspravu širim i na Nepokoreni Grad. Miša Janketić kao policijski islednik/ ustaški mučitelj u toj seriji mi se zauvek urezao u psihu i nikada posle nisam uspevao da ga vidim kao bilo šta drugo u bilo kojoj drugoj ulozi (što je gledanje predstave 'Marš na Drinu' gde on igra Vojvodu Mišića učinilo dosta neobičnim).
Njegove replike o 'Karlu koji je uvek gladan' i ono kad pita zarbljenog partizana da li želi da mu se oko vadi nožem ili prstom: 'mogu ja i prstom' su neprolazne... Indoktrinacija je zaista čudo... U civilizovanijim zemljama ovakve scene bi zaista bile rezervisane za grindhouse cinema, ne za serije koje idu nedeljom u osam uveče na prvom kanalu jedine televizije...
U jednoj od epizoda ima neka scena kad kolju neke ljude na nekoj poljani... I to traje i traje... Onda ima onaj sto mu izvade oko, on izda svoje saborce, pa mu posle pucaju u glavu. Ili vec nesto slicno...
E, a ima jedan partizanski film - e sad ne znam da li sam to pomesao sa necim - mislim da je Shiroko je lisce, u kojem neki Nemci po Vojvodini muche neku decu. I to je bilo razbijeno u seriju za nedelju uveche, negde u drugoj polovini osamdesetih. Secam se da nekom detetu zdrobe mosnice cizmom, ili nesto slichno... E TO je bilo moje najuzasnije iskustvo prilikom gledanja nekog domaceg filma.
Uf, to srećom nisam gledao.. Čak se i ne sećam tog naziva. Mada, u drugoj polovini osamdesetih smo već bili malko stariji pa traume ne bi bile jednake snage...
Quote from: "milan"U jednoj od epizoda ima neka scena kad kolju neke ljude na nekoj poljani... I to traje i traje... Onda ima onaj sto mu izvade oko, on izda svoje saborce, pa mu posle pucaju u glavu. Ili vec nesto slicno...
E, a ima jedan partizanski film - e sad ne znam da li sam to pomesao sa necim - mislim da je Shiroko je lisce, u kojem neki Nemci po Vojvodini muche neku decu. I to je bilo razbijeno u seriju za nedelju uveche, negde u drugoj polovini osamdesetih. Secam se da nekom detetu zdrobe mosnice cizmom, ili nesto slichno... E TO je bilo moje najuzasnije iskustvo prilikom gledanja nekog domaceg filma.
pokrenuo sam ja svojevremeno topik, valjda se zvaše 'partizanski horori' ili nešto slično, gde smo naklapali o ovim naslovima.
ja se odlično sećam tog serijala NEPOKORENI GRAD, tačnije, ta epizoda s gladnim pacovom se zvala TAJNA CRNE TORBE, ta scena mučenja je antologijska...
a pamtim i to ŠIROKO LIŠĆE, i kiddie-violence.
mislim da je u pitanju bila neka offscreen :( kastracija. :cry:
itd.
ali za ZELENGORU, ne znam šta bih dao. te tifusare sam SANJAO! i oponašao! recimo, kažu drugari 'aj se igramo nemci-partizani' a ja kažem: 'važi, ja ću da budem tifusar...'
ahh, sjećanja... :roll:
ako neko ima, u bilo kom obliku, pa čak i vhs ZELENGORE, anything goes! javite se!
Quote from: "milan"Kada muche Milana Strljica sa let lampom i sa pacovom Karlom koji ce da mu pojede utrobu?
Secam se te scene. Heavy shit! Neverovatno ali istinito!
Quote from: "Ghoul"ja se odlično sećam tog serijala NEPOKORENI GRAD, tačnije, ta epizoda s gladnim pacovom se zvala TAJNA CRNE TORBE, ta scena mučenja je antologijska...
hm, sad pogledah imdb, i tamo nema epizode s tim naslovom...
a siguran sam da se dobro sećam... valjda... :(
osim ako nema više tv drama i serija sa mučenjem ilegalaca izgladnelim pacovom stavljenim na gole grudi, i let lampom.
ko zna, možda postoji čitav pod-žanr!?
Jeste CRNA TORBA sto posto!
Prvo su pustili to kao neki film za neki revolucionarni praznik, a posle reprizirali u okviru serije.
Ne, ne, nego nisu sve epizode na spisku.
http://www.imdb.com/title/tt0081905/episodes
Imam Vrhove Zelengore na divx-u.Kome treba neka se javi.
prosto čoveku dođe drago što nije vaša generacija i nije morao da trpim to na televiziji.
upravo, u cilju osvežavanja TV uspomena iz mladosti, skidam AUTOMANA, to je brate zdravije :)
Quote from: "zakk"
upravo, u cilju osvežavanja TV uspomena iz mladosti, skidam AUTOMANA, to je brate zdravije :)
Meni je i AUTOMAN uspomena, bas kao i CRNA TORBA, VRHOVI ZELENGORE, ili neki film kojem sam zaboravio ime, u kojem na kraju Radku Polichu urezu nozem petokraku u chelo... :D
Inache, Zdravko Velimirovic mi je predavao rezhiju na II godini (reditelj VRHOVA...), i nisam odoleo da ga ne pitam o toj sceni sa tifusarima-zombijima.
Prilichno sam se razocharao kada sam shvatio da chovek nema pojma ko je Dzordz Romero i da nikada nije gledao njegovu Noc zivih...
Quote from: "milan"neki film kojem sam zaboravio ime, u kojem na kraju Radku Polichu urezu nozem petokraku u chelo... :D
nisi pito prave ljude: to je OSVAJANJE SLOBODE.
Quote from: "milan"Jeste CRNA TORBA sto posto!
Prvo su pustili to kao neki film za neki revolucionarni praznik, a posle reprizirali u okviru serije.
jes da je grozan oftopik, ali ne mogu da odolim (niti da lociram topik o partizanskim hororima! :cry: ), ali moram i ovo:
ZAPAZITE OVAJ KASTING - VINTAGE SFRJ!
Faruk Begolli (šiptar) kao... Ivo Lola Ribar
Izet Hajdarhodzic (musli)... Vladimir Nazor
Enes Kisevic (musli) kao... Ivan Goran Kovacic
i najzad, moj omiljeni glumac (ili bolje: glumačko ime) iz tih dana:
Špiro Guberina :!: :!: :!:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Farhiv.slobodnadalmacija.hr%2F20040715%2Fimages%2Ftv5a.jpg&hash=c56b5b2747796f9728acd1fd528c0bfec421eee3)
:!: ima da se skine Vrhovi Zelengore, a vala i Osvajanje slobode (čini mi se da je izašao na DVDu... proverite)
...NA VRHOVIMA ZELENGORE je vec dugo (bio) u kiosk ponudi za 250 din.; ja sam uzalud chekao da padne cena na 100 a roditelji, kao offspringovi, narodnih neprijatelja bi se ljutili da to vide u kuci...mada-???
...za MILANA: taj vojvodjanski film koji iz tadashnje sadashnjosti posmatra nemachki zulum tokom WW2 jeste ŠIROKO JE LIŠĆE, glume Jadranka Selec i Bekim Fehmiu, a Nemce tu dečake zapravo štroje i bacaju sa crkvenog zvonika...scary as cancer, spora nema!!!
...detaljnije: http://imdb.com/title/tt0181003/
Quote from: "zakk":!: ima da se skine Vrhovi Zelengore, a vala i Osvajanje slobode (čini mi se da je izašao na DVDu... proverite)
Gde?
vrhovi zelengore ed2k://|file|Partizanski%20Film%20I%20Vrhovi%20Zelengore%20Jaruge.avi|700721152|11115818338830A385627C44D0B06BFF|/
osvjanje slobode
ed2k://|file|Osvajanje%20slobode.1979.DVDRip.XviD-mp3.YUF.avi|731926528|7A412D9BB19B9AB0DA5D073F0825B22D|/
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.onomatopeja.com%2Femitor%2F2136-VrhoviZelengore-DVD-2136.jpg&hash=e0d5478d9cfc3f4a4b74248dfa5489de4f48361c)
...THE VERY TOPIC REVISITED- (crne) slutnje glede evropske distribucije GRINDHOUSE-a su se obistinile...sudeći prema dole predstavljenom programu ovoprolećnog festivala u Kanu, Rodriguez&Tarantino će ići svaka vaka obaška...ako obratite pažnju, videćete da je Tarantinov DEATH PROOF, nadam se, ne samo za potrebe narečene fešte, nadošao do trajanja od 110 minuta!!!
...dakle-
WONG Kar Wai
MY BLUEBERRY NIGHTS 1h51
***
Fatih AKIN
AUF DER ANDEREN SEITE 2h02
Catherine BREILLAT
UNE VIEILLE MAÎTRESSE 1h50
Joel & Ethan COEN
NO COUNTRY FOR OLD MEN 2h02
David FINCHER
ZODIAC 2h36
James GRAY
WE OWN THE NIGHT 1h45
Christophe HONORÉ
LES CHANSONS D'AMOUR 1h40
Naomi KAWASE
MOGARI NO MORI (The Mourning Forest) 1h37
KIM Ki Duk
BREATH 1h20
Emir KUSTURICA
PROMISE ME THIS 2h10
LEE Chang-dong
SECRET SUNSHINE 2h30
Cristian MUNGIU
(4 Months, 3 Weeks And 2 Days)
4 LUNI, 3 SAPTAMINI SI 2 ZILE 1h53
Raphaël NADJARI
TEHILIM 1h45
Carlos REYGADAS
STELLET LICHT 2h22
Marjane SATRAPI,
PERSEPOLIS 1st Film 1h30
Vincent PARONNAUD
Julian SCHNABEL
LE SCAPHANDRE ET LE PAPILLON 1h52
Ulrich SEIDL
IMPORT EXPORT 2h16
Alexander SOKOUROV
ALEXANDRA 1h32
Quentin TARANTINO
DEATH PROOF 1h50
Béla TARR
THE MAN FROM LONDON 2h12
Gus VAN SANT
PARANOID PARK 1h25
Andrey ZVYAGINTSEV
IZGNANIE (The Banishment) 2h30
***
Denys ARCAND
L'ÂGE DES TÉNÈBRES (Out of Competition) 1h51
Upravo svukoh Grindhouse, pristojan telesink (za ljubitelje torenta, evo torent fajla: http://rapidshare.com/files/27041108/Grindhouse_1_.2007.PROPER.mVs.TeleSync.KVCD.Brady_TUS.Release_.torrent.html)
Pogledao sam samo trejler za Machetazo, da utvrdim kvalitet kopije (vrlo zadovoljavajući) i moram da kažem da je trejler izvanredno urađen. Sve od kadriranja, preko lica protagonista i glasa naratora do ogrebotina na filmu deluje skoro autentično. I ne mogu da kažem da nije zabavno.
Naravno, problem je što odmaka skoro da i nema pa se, sem slepog obožavanja, neka velika svrha tu i ne vidi... Weird Al Janković je barem parodirao svoj subject matter (ne baš suptilno...). Videću još kakvi su filmovi, ali plašim se...
I Reservoir Dogs i Pulp Fiction (i True Romance) su bili očigledni omaži ali su ipak imali dramsku težinu (i dobar tekst). Kil Bil je već bio previše karikiran i dramu nisam osećao, a tekst je bio nezanimljiv. Ideološki, provokativna je bila ideja zamene muškog mačizma ženskim (mačo)feminizmom, ali kako nisam fan muškog mačizma, nisam se previše pronašao ni u ženskom...
Slično važi za Rodrigeza, Mariachi je bio briljantno, naivno, skroz iskreno grindhouse iskustvo (primereno vremenu), a već Desperado je bio maniristički i isforsiran... Tako da imam dosta opreza u pogledu double featurea koji ću pokušati sutra da odgledam...
Eto ja izlupeta svoje, pa ćemo da vidimo...
Pogledao sam. Ocekivao sam vise. Rodrigezova polovina je korektna - cak, na momente, izuzetno zabavna - ali Tarantino nije uspeo da obezbedi BING BANG za kraj. Ovo mu je definitivno nalosiji uradak do sada. Pisao bih jos, ali je kasno i zelim da malo sredim misli...
Laku noc svima! Prijatni snovi!
Sad kad mi se sve sleglo, mogu da kazem da mi je film shit...
..."in my book", PLANET TERROR je, neuglađena i a bit out of the focus,ali zabavna i neodoljiva u svim svojim preterivanjima i raspojasanosti, dok je DEATH PROOF, ipak, sve u svemu, spora, praznohodna, odveć retorična for its own good, nabudžena dosetka...
Druga polovina Tarantinovog filma je blamirajuce losa. Ne kazem ni da je prvih 40-ak minuta savrseno, ali tu definitivno postoji potencijal. Meni je, recimo, prijao spor uvod s puno dijaloga; prva postava cura mi je bila interesantna, a posebno Vanessa Ferlito. Negde oko 40-tog minuta, film se bas lepo zalaufao, ali posle toga je doslo do kolapsa u saobracaju. Tarantino je, ko-zna-zbog-cega, odlucio da sve postignuto "baci kroz prozor" i pokvari ugodjaj. Film se onda raspada kao lubenica bacena ispred teretnog kamiona! Bad Tarantino, fuj-to!!!!!!
Takodje, iz verzije koje sam gledao je IZBACENA LAP-DANCE SCENA CIJI SE KADROVI NALAZE U TRAILERU!!!!! WTF!?!?!!? Bezobrazluk!
Quote from: "Zika Kisobranac"sisa ima poprilichno, ali fakat, tarantino je napravio feministicki film. kao da je citao loru malvi, 'bem mu patrijarha.
cim dodje do eksploatacije zenskog tijela, a da postoji opasnost od nedostatka ironijskog efekta - missing reel.
pa ti vidi, moj doktore.
Za sve one koji su sladokusci creva, papaka, krvi i svega loseg a nalazi se u naseg organizmu :evil: toplo preporucujem jedan od retkih srpskih filmova koji je posle par prikazivanja ukinut od strane jagnjecih brigada komiteta precednistva :evil: .
Delegati, obicni ljudi koji su prisustvovali projekciji tog filma su posle pola filma rezervisali mesto u lokalnom Wc - u, dok neki koji su odgledali film do kraja imali su neopisivu zelju da sebi oduzmu zivot.
Film se zove CUBOK.
Nije za svakog, kad vam kazem.
Quote from: "Jimmy Conway"Za sve one koji su sladokusci creva, papaka, krvi i svega loseg a nalazi se u naseg organizmu ...
Nije za svakog, kad vam kazem.
TELL US MORE! TELL US MORE!
TELL US MORE!
TELL US MORE!
o čemu?
ko?
šta, konkretno?
kontext?
prison flick?
men in prison?
wip?
Quote from: "Ghoul"Quote from: "Jimmy Conway"Za sve one koji su sladokusci creva, papaka, krvi i svega loseg a nalazi se u naseg organizmu ...
Nije za svakog, kad vam kazem.
TELL US MORE! TELL US MORE!
TELL US MORE!
TELL US MORE!
o čemu?
ko?
šta, konkretno?
kontext?
prison flick?
men in prison?
wip?
Cubok
Žanr: Socijalna drama
Režija: Dragan Nikolić
Kratak sadržaj: Sticajem okolnosti mesar i njegov kolega, spasavajući se svakodnevnih muka, sprijatelje se sa radnicima iz barake jednog gradilišta. Mesar bežeći od žene i porodičnih problema, mimo svoje volje srlja u zamku druge žene, skrojene po meri njegovih želja, ali na pogrešnom mestu i u pogrešno vreme, a njegov prijatelj doživljava zvezdane trenutke: pobegavši od majke koja ga sputava, uz svog snažnog prijatelja, uspeva da ostvari maštarije o slobodi i akciji. Ali, dani zaborava naglo su prekinuti.
Producent: Avala Film
Scenario: Dragan Nikolić
Muzika: Vojislav Kostić
Snimatelj: Miloš Soldatović
Scenografija: Goran Joksimović
Zemlja porekla: Jugoslavija, Srbija
Bice jos toga odakle je doslo, samo molim da malo sacekas Gule.
Budi strpljiv. :!:
Za taj film je Dragan Nikolic bio nagradjen od ni manje ni vise nego JAMESA CAMERONA, i to u vidu nekog poklonjenog, monstruoznog fotoaparata! To se sve desilo na nekom festivalu debitantskog filma pocetkom devedesetih...
Quote from: "Plissken"Za taj film je Dragan Nikolic bio nagradjen od ni manje ni vise nego JAMESA CAMERONA, i to u vidu nekog poklonjenog, monstruoznog fotoaparata! To se sve desilo na nekom festivalu debitantskog filma pocetkom devedesetih...
Tacno.
Jos par infoa: film je precizno "lezao u bunkeru" 4 godine zbog odbojnosti publike prema filmu. Moj veoma blizak prijatelj koji je inace radio u jednom beogradskom bioskopu kaze da je za vreme filma zdimilo 50 ljudi, da je enorman broj ljudi povracao po stolicama, podu, frizurama kojekakvih gospodjica itd :evil:
Ime Cubok potice od starog (mitoloskog) svinjokoljskog jela, hibrida svinjskih iznutrica, papaka, krvi, masti, gronika inace svega sto nijedan "normalan" covek ni pod prislonjenim pistoljem u glavu ne bi jeo. Deo tih pomija ide u sarmice, pitije :evil: , virsle itd...
E pa eto savrsenog naziva za sociolosko-samoubilacku-horor dramu sa sve Danilom Lazovicem na celu.
Odgledah upravo Planet Terror i mogu da samo podcrtam do sada iznesene utiske (pička sam, nemam svoje mišljenje): trejleri su vrlo zabavni i njihov odnos autentičnosti i parodije je zadovoljavajući. Ovo me navodi na dve pomisli:
1) Trejleri su skoro UVEK bolji od samog filma: u ovom slučaju trejleri kondenzuju zabavu/ adrenalin/ humor koje Rodrigez u PT razvlači na sat i po - drama u trejlerima je samo sugerisana i stvar funkcioniše zbog tempa i nepostojanja obaveze da se ta sugerisana drama i razvija.
2) Grindhouse je možda trebalo da bude sat i po samo trejlera...
Sam Planet Terror je vrlo kompetentno napravljen u smislu imitiranja grindhouse šmeka i ima neporecivo zabavne momente. Neki su i antologijski. Kao celina tone, jer je samo pokušaj emulacije, ne i ikakvo umetničko delo in its own right. Ne pokušava ništa da kaže, nikakvu priču da ispriča, pokušava samo da stvori utisak gledanja 'pravog' gh filma. Stoga je drama u njemu nepostojeća, likovi su apsolutno nezanimljivi (Doktorka Dakota je jedina koja mi je bila donekle zapala za oko) jer su svedeni na imitaciju stereotipa, a parodiranje i preterivanje mu oduzima i poslednju mrvu pretenzije da na bilo koji način bude bilo kakva izjava o bilo čemu. Weird Al Janković ali sa većim budžetom... Ne znam, meni je najbolji Rodrigezov film i dan-danas Marijači jer u njemu nema ironisanja, nema isforsiranog referenciranja, nema pameti radi pameti. On je autentično brz, dinamičan i preteran, za razliku od Planet Terror koji je namešteno brz dinamičan i preteran....
No, na stranu intelektualna analiza, ima ovde i po koji zadovoljavajući deo... Malo da se okrepim (možda i nekoliko dana) pa da pogledam i Death Proof... Ah, da, zamalo da zaboravim: Tarantinova gluma je sve iritantnija, nije li?
Dakota je stvarno sjana, i uz samo par izmena, bila bi glavni lik. Nazalost, ili srecu, Rose McGowan je trenutno Rodriguezova ljubavnica , tako da je ovaj akcenat pokusao da stavi na nju.
...ljubavnica ili ne, Rodriguezova ili nekog drugog, Rose McGowan zaslužuje dodatno sledovanje rešpekta zbog svog neponovljivog doprinosa i na PLANET TERROR OSTu-TWO AGAINST THE WORLD...kao Milla Jovovich, Julie Delpy i/ili Nncz Sinatra at their respective best!!!
Odgledah ja Death proof i... zapravo sam iznenađen... Tarantino je uspeo da me uvuče u ovu priču, uprkos mojoj veoma velikoj negativnoj predrasudi... Nije da ovo smatram velikim filmom, ali posle Kill Bill koji mi je bio ogromno razočarenje, ovo jeste neka vrsta comebacka..
OK, zamerka je svakako što prvi deo filma sa prvom ekipom devojaka ispada višak... Pretpostavljam da postoje razlozi da taj deo postoji, ali meni, kao prosečnom brain dead gledaocu, ovo je bilo dosadno, predugačko, bez interesantnih likova. Lepo snimljen sudar, naravno (kao i mnogo drugih dobrih kadrova)... Ali drugi deo filma bi bio možda i uverljiviji bez ovog uvoda...
Sad, ima ljudi koji tvrde da je Tarantino to napravio namerno jer snima 'loš film'. Enivej, od uvođenja druge ekipe, stvari se dosta magično menjaju. Meni je Tarantino najdraži kad radi dijaloge a ovde ih ima ihahaj. Naravno, većina njegovih filmova je stilska vežba iz frivolnosti, pogotovo dijalozi, i Death proof ne da nije izuzetak nego je praktično kanonski Tarantino u ovom smislu(kako bi to Cripple napisao). Ali, to je za mene ovde profunkcionisalo. Scena u kolima je bila polovično zanimljiva, ali scena u restoranu je definitivno odlična. U smislu da čoveka uvuče (jedan kadar, kamera kruži oko stola, glumci rade ceo posao). Čak i da nije iz satelita očigledna posveta otvaranju Reservoir Dogs, ova scena upada u oči. Posle toga, imao sam utisak da me Tarantino ima baš tamo gde želi, među likovima, sa dovoljno intimnog poznavanja da mi je actually stalo do njih. Izvrsno tempirana napetost oko toga šta one to zapravo hoće da urade, sjajna adrenalinska scena koja odlazi par nivoa dublje pojavom Kurta Rasela, a posle toga izuzetno dobar omaž chase filmovima sedamdesetih. U smislu da je iskren, bez mnogo namigivanja i ironisanja, i u smislu da je seting pametno zamišljen, da je opasnost uverljiva a da je snimljeno i stunt-odglumljeno odlično. Završnica sa peglanjem našeg junoše mi je bila previše girl-power pa mi to malo kvari utisak. Da su u toj sceni umesto žena bili muškarci, bila bi mučna, ovako je samo politički napadna.
Generalno, moram da kažem, film ima neke programski prenaglašene momente koji bodu oči, ali mi je znatno uverljiviji od Planet Terror koji je prosta hedonistička zabava ali zabava koja je svesna da je guilty pleasure od koga se brani parodiranjem. Tarantino ništa ne parodira, iskren je i priča priču u koju veruje (mnogo više nego Rodrigez u svoju). Kada i pravi greške i pogrešne korake, i oni su napravljeni iskreno, iz verovanja, a ne iz poze i opreznosti da se ne ispadne glup, kao Rodrigez.
Za slučaj da nista videli u drugim kritikama: Tarantinov foot fetish ovde je u punom zamahu, do te mere da je za neke glumice uziman foot double. Talk about obsessed...
Rose je bre Tarantinova ljubavnica.
Quote from: "crippled_avenger"Rose je bre Tarantinova ljubavnica.
Jedna stvar ne iskljucuje drugu.
Šta je frivolnost?
(Čini mi se da ima neki film Frivolna Lola.)
Quote from: "Harvester"Šta je frivolnost?
frivolnost (nl. frivolus)
raskalašnost; lakomislenost; drskost, bezobrazluk; ništavnost, beznačajnost; frivoliteti pl. sitnice, igračke, vezene arabeske.
Thanks!
Quote from: "Harvester"Thanks!
Ma, nema na cemu. I ja sam tacnu definiciju nasao na netu.
Nego, koliko vidim, na avataru ti je onaj lik iz Romerove "Zemlje mrtvih",,, Cool.
:!:
Pa vidiš da nam je harvi u fazi risajklinga avatara... prvo je vratio Željka, sad debelog :lol:
Quote from: "Jake Chambers"Pa vidiš da nam je harvi u fazi risajklinga avatara... prvo je vratio Željka, sad debelog :lol:
otkako se harv suočio sa svojom smrtnošću i iluzornošću svih htenja i nadanja, kao da je odustao i od poslednjih trzaja imaginacije i originalnosti, i predao se rezigniranom recikliranju svojih nekadašnjih (ukupno: tri) fazona.
Pih.
Quote from: "Harvester"Pih.
tipična reakcija rezigniranog melanholika koji je ispucao sve svoje trikove i prestao da se više i trudi.
q.e.d.
:twisted:
Samo se ti nadaj. Očigledno si previdio frapantnu činjenicu da si prestao da bitišeš u mom signačuru. Mwahaha!
Quote from: "Harvester"Samo se ti nadaj. Očigledno si previdio frapantnu činjenicu da si prestao da bitišeš u mom signačuru. Mwahaha!
gde je lucifer, tu sam i ja.
neka osmeh na mom avataru bude dovoljan omen! :evil:
raja iz sale izlazila i žalila se zaposlenima u bioskopu.
evo fotografije mojijem očima viđene, sa šaltera kalifornijskog bioskopa:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg251.imageshack.us%2Fimg251%2F7899%2Funtitledys3.jpg&hash=7699e5d0f92d54374dcfa5aa9aa9330d0783aae6) (http://imageshack.us)
Ovi Ameri su stvarno debili. Njie ni cudo sto je GrindHouse pukao u SAD.
a, reci? :D
ja sam prvo mislio da je neka reklamna fora, i pitao sam poštenu meksikanku što radi na šalteru jesu l' se ljudi stvarno žalili, i ona kaže - stvarno.
au, reko.
da sam imao s kim, zgled'o bih se.
Ne-ve-ro-va-tno! Mislim da sa sigurnoscu mogu da tvrdim da se ovo kod nas, u Srbijici, ne bi dogodilo.
:arrow:
Nego, neceg sam se dosetio... Ako se za autenticni GrindHouse ugodjaj, idite u KINOTEKU! Kopije tamo su toliko izgrebane i ostecene da izgleda kao da pada kisa...
...do dobre prilike u Kinoteci, mogu da posluže i so-called DVD kiosk izdanja SFRJ/SRJ fimova...a ima i gore-a, to svakako, pa makar i nenamernog!!!
najbolji ugođaj u kinoteci je kad imaju simultan prevod.
dobiješ, bre, autentični grindhouse live performance.
super bi bilo da dovedu nekog da prevodi, recimo, kineski ili japanski borilački film, pa da imamo onaj dabovani brus li/soni čiba ugođaj, samo na srpskom. :!:
Ging, molim te napisi za onu zenu sto je prevodila simultano s japanskog... It's a riot! :wink: :!: :?: :idea:
...moj prijatelj i classmate i iz osnovne i iz srednje škole je olovnih devedesetih studirao japanski jezik...negde pred sankcije Japanci su se isprsili i u sadejstvu sa Kinotekom organizovali i platili ciklus japanskog poratnog filma, mahom japanske noir drame( najpoznatiji mi je od svih naslovao bio Kurosawin DRUNKEN ANGEL) za građanstvo, ali prevashodno za studentariju... ja na pozivim pomenutog prijatelja zapucam iz NS jer mi je obećao "neslućeno i nezaboravni trashy provod u Kinoteci", bio je tajnovit ali je rekao da nisu pitanju sami filmovi već nešto drugo a blisko...
...naime, ovde počinje moje lično svedočenje, filmove je uz pomoć povećeg svadbarskog, old school mikrofona simultano prevodila žena u kasnijim tridesetima, štrokavi hipik, nadošla verzija sadašnje Sonje Savić, recimo, pri tom kombo urađena na koje-čemu i pijana( tokom projekcija je naizmenično pila vino i pivo- sećam se-"BIP" )...
....zbog svega navedenog nije baš uspevala( a nije ni pokušavala) da se usresredi na prevod, ali je uveseljavala prisutne živom demonstracijom napada Tretovog sindroma, tako da smo, naravno, nimalo u vezi sa onim na ekranu, bili počašćeni sa "usraću se, mame mi", " kome se prdi, nek digne dva prsta", "u, jebu me svi živi","završavaj da ne uđem i pojebem"(po prvi put u životu sam tada čuo psovku "jebaću ti sve živo na mrtvo")...a, prevodeći monolog senilne starice, iz ne znam kog filma, koja je mokrila na pod, prevoditeljica je dobacila "baba, začepi pičku, ima ovde i poštene dece"...simultani prevod se, dakle, sveo na njenu ilustraciju radnje...moram priznati, zabavnu, nadahnjujuću, oslobađajuću i , barem meni do tada, neviđenu...
...ja sam otpratio 6 projekcija tokom dva dana, a čuo sam, što je najčudnije, dama odradila u istom maniru i uz zaista minimalna ponavljanja čitav ciklus...
..da ne bude zabune, nije to bio performans u okviru BITEFA!!!
..those were the days!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
sjajno!!!!!!
:D
Stvarno, zvuči kao iskustvo koje čovek pamti čitavog života. :lol: I ove psovke... ah, žao mi je što nisam bio tamo...
...verujte mi, da postoji mogucnost teleporta, to bi svakako bio jedan od 10 trenutaka u koje bih se brzom brzinom vratio...
Kurt Russell has confirmed a long-standing industry
legend... that the last thing Walt Disney did
before he died was write the words, "Kurt Russell".
At the Saturn Awards last week, "Hostel" director Eli Roth revealed to Collider that he has a new dream project - "Trailer Trash" which will be made-up of 30 or so fake trailers (ala "Grindhouse").
"I'm going to be doing a film of all fake trailers, like Thransgiving, called Trailer Trash. I want to make a movie like Borat or Jackass that's literally completely ridiculous, totally silly and absurd, that's just all fake trailers. I have a genius way to tie it all together so it will actually play like a movie" says Roth.
He adds "I want to do this with a budget because they have to look like movies. Literally I'll have the satisfaction because it will feel like I made 30 movies. That's the beauty of Trailer Trash - you just need good gags and good kills."
Roth says that Edgar Wright, Greg Nicoatero and Robert Rodriguez are also all likely to contribute. Roth hopes to complete at least some of the work before he starts filming his adaptation of Stephen King's "Cell."
...neshto slichno, i to ljudski dobro, pa josh zaodenuto u, meni vazda, milo moc-doc ruho vec postoji...zove se TRAILERVISION:THE MOVIE a.k.a. WHY CAN'T I BE A MOVIE STAR, a proizveli su Kanadjani 2001. godine... a sve je to proizashlo iz prvobitnog, istoimenog sajta...
...vishe o tome...http://www.imdb.com/title/tt0332511/
Meni je Grindhouse skroz dobar. Oba filma sam gledala vec nekoliko puta. Obozavam kad se pomesa horor i humor i odlicne parodije.
I inace ne volim nista sto je previse ozbiljno (zivela neozbiljnost! :lol: ) pa moje misljenje malo treba uzeti s rezervom.
'Grindhouse' Spin-Off 'Machete' Coming To Theaters
LOS ANGELES, Calif. (June 13, 2007) -- Attention all "Grindhouse" fans – the Machete is coming for you!
"Machete," the first trailer shown before the "Grindhouse" double feature will be turned into its own feature film, actor Danny Trejo revealed to Access Hollywood.
Trejo, who plays the title character in the trailer, broke the news to Access on the red carpet of Tuesday night's "1408" premiere.
While speculation had the film being made as a direct-to-DVD feature, Trejo said the plan is to release it in theaters.
"We're doing it," Trejo said. "We're going to try and get it done this year."
As it turns out, "Grindhouse" co-director Robert Rodriguez wrote "Machete" in 1993 with Trejo in mind, after casting the heavily tattooed actor in "Desperado."
"I had cast him in Desperado and I remember thinking, 'Wow, this guy should have his own series of Mexican exploitation movies like Charles Bronson or like Jean-Claude Van Damme.' So I wrote him this idea of a federale from Mexico who gets hired to do hatchet jobs in the U.S.," Rodriguez said in an interview with Rolling Stone. "I had heard sometimes FBI or DEA have a really tough job that they don't want to get their own agents killed on, they'll hire an agent from Mexico to come do the job for $25,000. I thought, 'That's Machete. He would come and do a really dangerous job for a lot of money to him but for everyone else over here it's peanuts.' But I never got around to making it."
Trejo, whose other film credits include "From Dusk Till Dawn," "Heat," "Spy Kids" and "Con Air," could barely hold back his excitement when talking with Access about the new project.
"If there's gotta be a Latino superstar, it might as well be me," he laughed.
No word yet on a possible release date.
Dobra vest. Čak sjajna uz ogradu da bi Rodrigez trebalo malo da se uozbilji, batali kemp majndset i snimi strejt ap, nou-nonsens akcioni eksploitejšn flik. Nadamo se najboljem... Još uvek čekam pravi nastavak Marijačija....
...sinoć sam pogledao i tu osveženu, zasebnu i dabudženu (sa dodatnih 20ak minuta) DVD verziju Tarantinovog flopa DEATHPROOF(sada u formi zasebnog filma) i moram da kažem da mi se prvobitni utisak nije znatno popravio jer dodavane su scene koje podvlače impresiju o jednoj pričaonici koja se otela kontroli, uprizorenoj, ma u velikoj meri, besmislenoj radio-drami i autoru koje je ozbiljno zapatio samodovoljnost/samoljubivost... do te mere da u ovih gotovo 120 minuta zapravo ima jako malo filma!!!
...ipak, da ne bude zabune, jedva čekam da pogledam i ojačano-separatisanog Rodrigueza!!!
Ja sam tu separatnu verziju Death proof skino pre neki dan ali nisam gledao. Pošto se meni or'ginalna verzija dopadnula, sad sam malo brižan, neće li mi dodatna pričaonica zasmetati.. Ali za Rodrigeza sam prilično siguran da mu ništa neće pomoći...
Ja sam pogledala samo integralnu verziju (oba filma i traileri) i ne pada mi na pamet eksperimentirati sa separatima. Štono kažu kod nas, от добра добра не ищут.
Vern Reviews The DEATH PROOF DVD!
Hey, everyone. "Moriarty" here.
Since this showed up at my house, I've screened it three times. I hate that they are not putting out GRINDHOUSE together, but I really like the international cut of DEATH PROOF, and I know that sooner or later, I'll be able to own the same thing I saw in theaters this spring. It's just not right now, and I guess that's just the way it fucking goes.
Vern's got a typically strong write-up of the disc for you today, and it was nearly as much fun to read this as it was to watch the disc:
For me GRINDHOUSE was one of the great theatrical experiences of 2007. A rare modern instance of filmatists trying to put on a real show, and giving you more than your money's worth. Two movies for the price of one, plus fake trailers - an affordable night or afternoon out. Yeah, I read about how it failed to make money for the Weinsteins, but guess what? That's what happens when you spend decades buying other people's movies so you can cut them, dub them, retitle them, sit them on a shelf for years, and then only allow them to be rented at Blockbuster. When you spend that long doing that many cruel and unusual things eventually your bi-yearly good deed will fail for you too. Because you are an asshole.
So in that sense GRINDHOUSE is even better than you realize at first glance. It's a good time at the movies AND it lost money for some assholes. Two birds with one stone, in the form of two movies.
Down to business: I was one of the people who thought Rodriguez's PLANET TERROR was kind of a fun fake movie but Tarantino's DEATH PROOF was a good actual movie. I liked it. So that's where I'm coming from reviewing the new DEATH PROOF dvd out today. A guy who bought the dvd because he likes the movie.
That's right, the DEATH PROOF dvd. As opposed to the GRINDHOUSE dvd that would contain the original double feature as shown to packed houses on the outer edges of the United States. You may say wait a minute, why are these bloodsuckers releasing the two movies on dvd separately? No longer a double feature? Without even including the trailers? And as if we are so stupid that we don't know they're gonna release it as a double feature later?
These are all valid points and clearly those snakehearted fuckers are doing it for the money. But by accident there is a certain logic to it. Think of it this way. There have been many double features throughout time, it has rarely been a permanent state. I remember in the late '80s for example seeing a double feature of I'M GONNA GIT YOU SUCKA and THE FLY 2. For real. So to me that's how those movies were meant to be seen, but you can't buy them on one DVD. A double feature is a fleeting moment in time, a limited time offer, like a Christo installation, a snow sculpture, or the "eggnog" milkshake that becomes "tom and jerry" when it's not winter. You appreciate it when it comes around but you can't have Christmas every day. Unless you work in one of those year round Christmas stores. In which case I hope you get paid well you poor bastard.
Also, I gotta be honest, there's not much of a chance I would sit and watch the whole double feature again. I saw it twice in theaters but on home video how often are you gonna watch two movies in a row that are pre-programmed for you by the Weinsteins? Not often. I do like those double feature dvds with the trailers that Dark Sky puts out, but those I don't watch the whole thing in one sitting either.
So I really can't be too upset about it personally. Your mileage may vary. (That is not some car pun because of the movie being about cars, I am just using a common idiom.) In order to justify the separation this is the longer European cut with the "missing reel" lapdance scene and other additions. I don't know how the fuck they're gonna do it with PLANET TERROR since you would never want the "missing reel" to be in there, and the movie is probaly a little too long as it is. But with DEATH PROOF it seems kind of like a movie that had a bunch of different releases and you're seeing a version with parts you never knew were cut out before.
So you got the lapdance scene, that's self-explanatory. (if you need it explained, what happens is she gives him a lapdance.) The other most noticeable addition is a long black and white sequence at a convenience store before Rosario, Kim and Lucy McClane pick up Zoe at the airport. Nicky Katt from THE LIMEY plays the clerk. The highlight is when Stuntman Mike pretends to drop his keys so he can lick Rosario's foot. I was surprised it was Kurt Russell's character that did that, you'd think Tarantino's character Warren the bartender would've been the one to do it. It would make no sense for him to be out there in Tennessee stalking girls in a minimart parking lot, but I'm sure he could've figured something out. But he didn't, he had Stuntman Mike do it for the sake of the story. Way to take one for the team Tarantino.
I liked seeing this scene, but I didn't really think it needed to be in the movie. I especially didn't see any reason for it to be in black and white, that just seemed like screwin off. It's a good deleted scene but it doesn't add enough to justify how much it slows things down. On the other hand, it does make the ending make a little more sense. Knowing how long this guy has been stalking them makes it a little more believable that they would want to kill him.
There are other scenes that aren't new but are longer. One little thing that really changes the way the story unfolds is in the first half there's a scene where Stuntman Mike is in his car laughing sinisterly and looking at the photos of his "girlfriends." It kind of reminds me of MANIAC or one of those other early '80s stalker movies. I liked in the theatrical cut that there really wasn't an acknowledgment that he was evil until he turned left when Rose MacGowan wanted to turn right. You'd seen his car looking ominous but that could've always been a trick, he could turn out to be the guy who protects the girls from the slasher. In this "Extended and Unrated" cut you know that can't happen because you see him cackling and collecting spy photos early on. The cat is out of the bag.
My favorite addition for this cut is in the Earl McGraw scene in the middle, the bridge between the two halves of the movie where he explains the concept that car crashes are "the only way that degenerate sonofabitch can shoot his goo." The scene is a little longer and includes a part where he brings up the possibility of investigating Stuntman Mike, dogging him like Dr. Loomis, but he decides against it. I won't give away the joke, but there's some good new lines, it's always good to see that character.
I know you're supposed to want to see the longer, uncut version, but sometimes shorter is better. DAWN OF THE DEAD for example, the long one from Cannes is nice but I go for the theatrical cut. History repeats itself here, I liked the shorter version better. It was more efficient. The long one doesn't ruin it though. I still like it.
The transfer looks real nice, whatever the process he's using to make it look like a cheap '70s movie at the beginning, it looks even better on here. If you like the movie like I do the extras are pretty good too, definitely better than on those KILL BILL dvds. (hey bloodsuckers, when you gonna double dip us on those?) The best is a feature on "The Legendary Drivers of DEATH PROOF." One particular shot they talk about involves 3 generations of stunt drivers plus Zoe Bell on the hood of the car. In context it's a cool shot but not one that would necessarily jump out at you, so it's cool to see them explain the significance of it to the stunt drivers.
There's also one called "The Guys of DEATH PROOF," which talks about some of these actors you forget are even in the movie since you pay more attention to the girls, and should be ashamed of yourself. I heard Eli Roth interviewed a while back and he told the story of filming the scene where he makes fun of Stuntman Mike ("he cut himself falling out of his time machine") and it's funny because they actually show footage of it happening and everything is pretty much exactly how Roth told the story, including Russell throwing nachos at him and Roth proclaiming THE THING his favorite movie of all time.
The extra I was most excited for was "Quentin's Greatest Collaborator: Sally Menke." Unfortunately it's not a real thorough study or retrospective on her editing. But it is kind of amusing. It starts with Tarantino singing Menke's praises and ends with a long montage of takes where the DEATH PROOF actors turn to the camera and say "Hi Sally." The best is Zoe Bell saying it from the hood of the VANISHING POINT Charger.
As usual for Tarantino, no commentary. Guess he's not much of a talker. Real shy. It's not an overwhelming amount of extras, and they have the balls to list the trailer for DOUBLE DARE (really good Zoe Bell-featuring documentary about stuntwomen) as a special feature. But it's a good dvd. If you like the movie.
And alot of you hate the movie. I know when the double feature came out, DEATH PROOF was by far the least popular in the talkbacks. I didn't take alot of you seriously because you were calling the characters bitches and cunts, but there were plenty of reasonable people who didn't like it. And at least one of you asked me to explain why, exactly, I did like it.
I may be a charming fella but I'm not gonna be able to talk anybody into liking it. I will say a few things though on its behalf. (And before you say this review is too long, fuck you, you got eyes, you knew what you were getting into, and I thoughtfully divided it into three parts so you'd have plenty of chances to take the coward's way out.) One of the complaints I heard was that it supposedly didn't fit the "grindhouse" theme it was advertised under. I disagree. I took it as a tribute to movies like TWO LANE BLACKTOP, artier independent car movies marketed with their exploitation elements. (This cover even fits that, they show off the female curves and the box is made to look beat up and "grindhouse" but it also has the logo for "Festival de Cannes Official Selection.") Those arty car movies tend to be dry and quiet though, this is kind of in the other direction, lots of talking before the car chase at the end.
And it's true, especially watching it the third time around, alot of that talking is not as funny or interesting as what they're talking about in the other Tarantino movies. That's a fair criticism. Jungle Julia especially starts to seem a little too full of herself with her soliloquy about Butterfly and her poem and lapdance situation.
But people that hate it don't acknowledge how the dialogue does its job under the radar. In the first half these discussions set up all the slasher movie expectations - we learn that our heroines smoke weed and drink booze, they like boys, they flaunt their sexuality, they're going to a cabin, and Butterfly refrains from going all the way with her date. Visually, Tarantino emphasizes that she should be the "final girl" who survives at the end. She's the only one who notices him following them, the only one afraid of him. So it seems like they should go out to the cabin and be picked off one by one until Butterfly pulls it together and, say, runs over Mike while yelling that poem menacingly.
Instead he kills them all in one crash, running down the whole slasher movie formula. Whoops, start over.
Then there's the bridge with Earl McGraw which is like the end of PSYCHO, the explanation of the psychology of the character. (That's the comparison that came to mind when I saw it, and Tarantino uses it in the extras on the DVD. dude, I'm totally on the same page as Tarantino, I must really GET IT! That's the problem, you guys just don't GET IT like I do. People who GET IT get it, why can' t you?)
In the second half the conversations are more important because they're setting up what's really gonna happen instead of what you're supposed to think is gonna happen. For example, there's a funny conversation that establishes that Kim has a gun, and that she's happy to use it. That she believes in killing someone who tries to harm her. And there's the story about Zoe falling into the ditch that establishes the spectacular car chase scene that's pretty much the reason for the movie.
The car gets to star in the poster, but to me Zoe Bell is the star of DEATH PROOF. She's the main thing that makes it special. I have no doubt that if she looked like some Bratz doll and was on the O.C. even you "haterz" would be sacrificing animals at her altar. Instead she looks like a normal person. But she's not a normal person. She's Xena flying through the air on fire, she's Beatrix Kiddo running up that handrail in the House of Blue Leaves, she's Zoe the Cat falling in the ditch and not getting hurt, she's fucking DEATH PROOF, as much the reason for the title as Stuntman Mike's car is. I think what Tarantino did was brilliant, to take this likable woman and turn her into an actress to create the weird circumstance of now seeing this same woman who we have been hanging out with actually, for real, put in this death-defying situation. The car chase is great, the crashes are great, the old school way it's all staged and filmed is great, the organic has-CGI-even-been-invented-yet?-feel is great-- but it's Zoe, in the middle, on the hood, clinging on for dear life, and then later picking up a metal rod and jumping on the side of the car, ready to beat the hell out of Stuntman Mike and his death proof car - that's DEATH PROOF.
Okay, maybe you don't like it. Can we at least agree on MACHETE? You motherfuckers want our money, you need to hurry up and make MACHETE!
peace in the middle east and etc.,
Vern
RICHARD LINKLATER may have put this capital city on the film industry's radar with "Slacker" in 1991. But for almost as long as Austin has been known as the Texas Hollywood, its most prominent and prolific player has been Troublemaker Studios, a filmmaking funhouse created by the director Robert Rodriguez and the producer Elizabeth Avellan.
For more than 15 years the partners — in both business and marriage — churned out entertainments like "Sin City," the "Spy Kids" trilogy and "Desperado." And they gladdened the hearts of studio executives by delivering their popular movies under budget, keeping postproduction in-house at Troublemaker's downtown location and in their sound and editing studios on the 100-acre Avellan/Rodriguez compound outside Austin, next door to the castlelike home (complete with balconies and hidden staircases) where they raise their five children.
But last year, during the filming of the "Grindhouse" double bill that paired Mr. Rodriguez's "Planet Terror" with Quentin Tarantino's "Death Proof," came the rumors, and then the official announcement that Mr. Rodriguez and the pregnant Ms. Avellan had decided to end their marriage. The news that the two had separated and, months later, Mr. Rodriguez's public appearances with Rose McGowan, the leading lady of "Planet Terror," came as a shock to the close-knit Austin filmmaking community.
In a place where crew members had grown so accustomed to regularly working with Troublemaker that some had picked up and moved here from Los Angeles — Ms. Avellan lovingly refers to them as her children — the dissolution of the marriage raised the obvious question: What would become of the moviemaking miniempire they had built together?
Mr. Rodriguez and Ms. Avellan say they plan to keep Troublemaker as is, and to continue working on some joint projects, like a planned family film called "Shortz." But for Ms. Avellan, 47, personal hardship is leading to a professional evolution. Most of her career she has willingly ceded the limelight and the major creative decisions to Mr. Rodriguez, a charismatic character who famously got his start by partly financing his $7,000 debut, "El Mariachi," by spending a month in an Austin hospital testing a cholesterol-lowering drug. Now Ms. Avellan plans to transform her own ideas into movies and television shows and take Troublemaker in new directions. For the first time, she is producing a major studio picture with a director besides Mr. Rodriguez.
"Queen of the South," a sprawling crime thriller set in Mexico and Spain, will be directed by Jonathan Jakubowicz, a 29-year-old filmmaker and Avellan protégé, and produced by Ms. Avellan and Sandra Condito for Warner Independent Pictures. Based on Arturo Pérez-Reverte's novel of the same name, "Queen" is the story of Teresa, a murdered Mexican drug cartel pilot's girlfriend. Fearing for her life, she escapes to the Mediterranean and begins her own trafficking operation.
In the past, she said, while she was interested in projects like "Queen," with its $25 million budget and exotic locations, "I didn't want Robert to feel like I wasn't giving 150 percent, like any producer would do. So I'd not talk about this or that."
"Now I feel free to mention some of the things that I'm doing," she added.
Considering the strength of the previous incarnation of their partnership, this looser arrangement carries risks for both filmmakers as they make their first films without each other's help. (Mr. Rodriguez is working on a remake of "Barbarella.")
Both Mr. Rodriguez and Ms. Avellan describe their relationship as complementary; their success, they say, came from matching her logistical side with his creative one. "In a lot of ways, we were made for each other," Ms. Avellan said.
Born in Caracas, Venezuela, before moving to Houston as a child and later attending Rice University, Ms. Avellan knew she was destined to be a producer, she said. The moment came while watching Holly Hunter playing a hyperefficient news producer in the 1987 film "Broadcast News." "To have that much pressure and keep all those balls in the air and have the random knowledge," she said, "I thought, 'That's me!' "
Eight years after "Broadcast News," Ms. Avellan was a co-producer of "Desperado," Mr. Rodriguez's first major studio film. From then on, she has received top production billing on all his films. In a telephone interview, Mr. Rodriguez pointed out that he had helped produce Troublemaker's projects as well. "But the stuff she's doing now on her own, she's doing the full-fledged producer job, which I'm sure is more exciting to her than just working on whatever project I hand along," he said.
And perhaps now Hollywood will truly take notice. Ms. Avellan is well known in Austin as a philanthropist and a supporter of student film (last March she was the first recipient of the Texas Film Hall of Fame Ann Richards Award), and she has played an equal role in creating a moneymaking empire (Troublemaker's 14 movies have made more than $900 million at the box office and hundreds of millions more in DVD and video sales). But that success has not completely translated to recognition in Los Angeles.
On July 26 The Hollywood Reporter released its first "Latino Power 50" list, highlighting Hollywood's behind-the-scenes male and female Latino talent. Mr. Rodriguez was third on the list; Ms. Avellan wasn't included, or even mentioned in Mr. Rodriguez's entry. "This is the only woman who's made Latin-themed movies, casting Latinos, for the American audience, in English, that have broken 100 million," Ms. Condito said. "And she's not on the list! It's mind-boggling to me. But that's not only Hollywood's fault. That's also her fault, in the best way possible, in the sense that she doesn't push herself in front of people."
Salma Hayek, who starred in Mr. Rodriguez's "Desperado," "From Dusk Till Dawn" and "Once Upon a Time in Mexico," calls Ms. Avellan a "well-kept secret." But, she said, "now that she's starting her career as an independent, breaking away and doing stuff on her own, people will know more about her."
If it's a challenge to continue on with business as usual at Troublemaker now that she is no longer married to Mr. Rodriguez, Ms. Avellan isn't showing it. While some in the Austin film world and inside Troublemaker wonder what will happen next — "There's an enormous amount of concern," said Louis Black, editor of The Austin Chronicle and founder of the South by Southwest Music, Film and Interactive Festival, "because these are two people that a lot of people care about" — Ms. Avellan said she never questioned whether or not to stay with Troublemaker. It's a decision that might seem counterintuitive, given the collapse of the marriage. But considering the stakes as equal partner of a moneymaking company with grand plans — Ms. Avellan said she also hoped to expand the studio's sound and digital facilities and bring in more commercial production — it's an experiment she's willing to try.
"Robert and I have been such good partners for 18 years," she said. "So many things haven't changed in general, just in how we handle our personal life with our children. The only thing we're not is married anymore."
"He can make his movies here," she added, "just like I can make my movies here. It'll be good for Austin: if I bring a movie in, and Robert does a movie too, this place will be much more used. People can say, 'Oh, it'll never work.' And I'm like, 'You know what? It'll work.' I'm excited at the prospect of showing them — of showing the world what I do."
Znao sam da od one odvratne Rose MCGowan ne može ništa dobro da ispadne.
Quote from: "Meho Krljic"Znao sam da od one odvratne Rose MCGowan ne može ništa dobro da ispadne.
Znači, Rose je jedna nevaljala brakolomka. Doduše, ne bih se gaglasio da je odvratna, ne znam otkud sad to. Kao glumica je pokazala da ima talenta - a ne izgleda loše, dapače. Jeste da joj je faca malo pekinezerska, ali ima dobro telo i još bolje držanje. Uvodni kadrovi PLANETE TERORA mogu da posluže kao potvrda navedenog.
Ma, izgleda da nije moj tip... Mnogo zdravo izgleda.
meni je PLANET TERROR bio umereno zabavan i gledljiv, za razliku od brbljivog i smaračkog DEATH PROOFA.
ništa posebno, bez pravog razloga za postojanje, ali lepo bar zbog malo gross out splatter efekata.
sad, posebna bi tema za diskusiju bila suštinska odstupanja od grindhouse-a, i u stilu (očigledno visok budžet, spektakularne scene, režija sa mnogo tejkova, mnogo set-apova, mnogo razrađenija režija od najveće većine grajndhaus flikova, znatno veće trajanje filmova), i u ideologiji (npr. vrlo 'moderan' tretman ženskih likova, skoro feministički, sa minimumom exploatacije, sve vrlo korektno), i u brojnim drugim suštinskim komponentama, tako da i tarantino i rodrigez, sem vrlo površnih efekata sa 'grebanjem' i 'gužvanjem' trake, zapravo isporučuju produkte koji niti su istinski omaži, niti ejpovanja, niti kritika grajndhausa, već... ne znam ni ja šta, nekakav površni po-mo ejping čija mi poenta sasvim izmiče, budući da nit je kritika, nit parodija, nit nadgradnja, nit šta koherentno... možda reimagining, koji se toliko udaljava od izvornika da opet ne vidim čemu to i zašto.
Quote from: "Ghoul"sad, posebna bi tema za diskusiju bila suštinska odstupanja od grindhouse-a, i u stilu (očigledno visok budžet, spektakularne scene, režija sa mnogo tejkova, mnogo set-apova, mnogo razrađenija režija od najveće većine grajndhaus flikova, znatno veće trajanje filmova), i u ideologiji (npr. vrlo 'moderan' tretman ženskih likova, skoro feministički, sa minimumom exploatacije, sve vrlo korektno), i u brojnim drugim suštinskim komponentama, tako da i tarantino i rodrigez, sem vrlo površnih efekata sa 'grebanjem' i 'gužvanjem' trake, zapravo isporučuju produkte koji niti su istinski omaži, niti ejpovanja, niti kritika grajndhausa, već... ne znam ni ja šta, nekakav površni po-mo ejping čija mi poenta sasvim izmiče, budući da nit je kritika, nit parodija, nit nadgradnja, nit šta koherentno... možda reimagining, koji se toliko udaljava od izvornika da opet ne vidim čemu to i zašto.
Jer njih to zabavlja? A i nekih od nas. Zašto ne napraviti nešto za svoj gušt ako možeš?
Slažem se sa Ghoulom, štaviše dodao bih svemu tome da sumnjam u Rodrigueza i njegovu trenutnu rediteljsku formu. Naime, ja uopšte više nisam siguran da li on i može da snimi PRAVI FILM ili samo može da radi ovakve projekte koji više liče na konceptualnu umetnost ili video rad nego na film...
PLANET TERORA (Planet Terror) Robert Rodriguez
Drugi dio "Grindhouse" projekta Quentina Tarantina i Roberta Rodrigueza došao je u ovdašnja kina s nezavidnom reputacijom. Od samih početaka distribucije, prvo u Americi gdje je "Planet Terror" bio dio dvostruke projekcije i tako pratio zanimljivu "double feature" tradiciju, pa sve do razlomljenih europskih prikazivanja, Rodriguez je bio upravo taj koji je imenovan odgovornim za propast, mahom financijsku, ali i recenzentsku. Prilično neočekivan odjek za redatelja koji je karijeru gradio, izuzme li se "Sin City" kao odvojak koji puno više pripada Franku Milleru, na konzistentno sličnom i utabanom pristupu, nepromijenjenom od slavljenog "El Mariachija" ranih devedesetih. Naime, Rodriguez nema niti je ikad imao smisla za lucidnije povezivanje utjecaja i referenci, a kamoli izlaženje iz kruga retro repeticije u onaj ozbiljnije posvete. Poput klinca koji je i danas opčinjen svojim B-herojima, ovaj autor u stanju je samo replicirati, služeći se pritom tek linearnom montažom senzacija.
Takav je i "Planet Terror", koji naslov, ali i ne više od toga, dijeli s kultnim klasikom Maria Bave iz 1965. godine, u nas poznatijim kao "Planet vampira". Rodriguez, isto kao u svim svojim ključnim radovima, najviše dolazi do izražaja kad slaže spektakularne pucnjave i potjere, ovdje pojačane zabavno pomaknutim prizorima interakcije ljudi i zombija. Zaplet o biološkom oružju zbog kojega i dolazi do zaraze prašnjav je koliko i sam podžanr, što je u "Planetu Terora" shvaćeno, nažalost, prekasno, pa tek negdje na kraju slijedi neuspio pokušaj da se motiv postmoderno osvježi lamentacijama o Bin Ladenu. Rodriguez jednostavno nema vještine poput Tarantina zaplesti priču tako da se čita u dva vremenska sloja, ali se valjda povučen njegovom blizinom osjeća izazvan, kao u kakvom natjecanju, to učiniti. Rezultat je da ga upravo taj dio odvlači od pravog puta: negdje na sredini "Planeta", kada bi ova namjerno nepametna zabava mogla postati impresivna orgija raspomamljenih zombija, Rodriguez se gubi u manje atraktivnim epizodama te previše prostora daje nebitnim, sporednim likovima. Njegov niz senzacija, za kojega bi bilo najbolje da je krenuo umnožavati se, postaje tako ozbiljno usporen. Dijalozi ne trpe blizinu Tarantina, kojega Rodriguez tu opet ne može dostići, a čak se i uništavanje vrpce, kako bi se dobio dojam ofucane kopije, doima naknadno dodano, tek kao obavezni zajednički nazivnik "Grindhouse" estetike.
Ipak, optužbe za propast projekta su pretjerane. Tamo gdje Tarantino skuplja bodove na redateljskim i scenarističkim zahvatima, Rodriguez ih s lakoćom gubi, ali nadomješta svojim znanim koreografskim atrakcijama. Nekoliko scena ući će u kolektivnu memoriju ovog filma, poput napada na zombije elipsom helikoptera, a još više, kao zaštitni znak "Planeta", prizor Rose McGowan koja na mjestu amputirane noge nosi mitraljez, kasnije još i teže oružje. S ovom urnebesnom protezom snalazi se McGowanova poput lebdeće balerine, što "Planet Terora" može prebaciti prije u "Bullet Ballet" nego u "Noć živih mrtvaca", jer Rodriguez odabire ne baviti se zombijima previše, nego za razliku od uzora Georgea A. Romera, tretira ih kao zadanu varijablu, napast iz pozadine. Šteta, jer da se nije natjecao sa svojim sposobnijim prijateljem, mogao je složiti još beskompromisniji film koji bi nedostatak zapleta maskirao još pametnije - tako da ga potpuno ukine. Međutim, "Planet Terora" vjeran je Rodriguezovoj dječačkoj žanrovskoj ljubavi, traje dovoljno kratko da i sam ne postane živo-mrtva dosada i nudi dovoljno scena nesmiljenog, neargumentiranog pretjerivanja koje unatoč svemu zamjerenom, od njega čine uspješan, iako ne i antologijski "grindhouse" film.
Željko Luketić
Zanimljivo, ja sam čuo od brata da je Rodrigezova polovina dobra, a Tarantinova užasna. A onda, kao što se vidi na ovom topiku, Ghoul je secondovao to mišljenje.
pa ne, tacnije bi bilo reci da je prva gledljiva, a druga uglavnom nije.
Close enough! :lol:
Ma ne slusaj nikog bre,oba filma su sasvim OK,sta Ameri i Hollywood uglavnom prave poslednjih godina,ovo je super !!!! :)
Oba filma su odlicna zabava i prava je uzivancija gledati ih od prve do poslednje scene. Bar sto se mene tice.
Quote from: "Bilja"Oba filma su odlicna zabava i prava je uzivancija gledati ih od prve do poslednje scene. Bar sto se mene tice.
Potpisujem.
i ja!
naročito ako ih ne gledaš sa prstom na čelu, već taj prst upireš u ekran i veseliš se...
Pogledao sam sa zakašnjenjem DEATH PROOF Quentina Tarantina, courtesy of Kunac.
Moram priznati da sam posle teškom mukom pogledanog PLANET TERRORa Roberta Rodrigueza, odložio gledanje DEATH PROOFa što mislim da dosta govori o tom iskustvu koje je toliko upečatljivo da sam posle njega odložio gledanje novog Tarantina. Kad kažem "novog
Tarantina" ne aludiram da mi je Tarantino omiljeni reditelj ali on svakako jeste jedan od autora koje pratim sa velikom pažnjom,
naročito posle KILL BILLa.
U neku ruku DEATH PROOF jeste produžetak KILL BILLa drugim sredstvima, ali ovog puta u pravcu revivala road moviea i car chase moviea koji su rađeni u AIP produkciji. Ono u čemu je Tarantino beskrajno autentičan jeste činjenica da je dinamiku svog filma zaista žrtvovao onome što jeste esencija tog tipa exploitation filma. Naime, ti exploitation road filmovi ne samo da su bili karakteristični vehicli za reditelje koje exploitation ne zanima previše kao što je Jonathan Kaplan već su obično bivali vehicli i
za glumce koji nisu tipični akcioni heroji kakvi su inače igrali u AIP filmovima. Stoga su ti filmovi obično bili priče o Americi i nekim karakterima usamljenicima koji lutaju Amerikom, ne snalaze se, i sve to je bilo filovano njihovim buntovništvom koje se manifestuje brzom vožnjom. Međutim, tih auto potera ni u izvornim filmovima nije bilo previše tako da ih Tarantino daje u obimu koji je je i nekada postojao i u kvalitetu koji oni nikada nisu postigli.
Mislim da bi savki drugi reditelj u svom pokušaju da rekonstruiše taj žanr pokušao da ga popravi, da ga izmeni i prilagodi savremenom senzibilitetu, ali je Tarantino ostao prilično dosledan estetici svojih prethodnika. Uostalom WHITE LINE FEVER, VANISHING POINT i ostali i jesu neka vrsta američkih klasika koji su uticali na wendersovsku euroamerikanu a naravno omiljeni su i Americi i njima znače mnogo više nego nama, tako da je sasvim očekivano da ljibiteljima te vrste filma ovako nešto nije dosadno.
Štaviše, siguran sam da oni koji imaju neposrednije iskustvo Amerike mnogo više znače i geografski elementi koji se u ovim
filmovima pominju. Vrlo je zanimljiva svojevrsna fetišizacija provincije koja recimo nama uopšte nije jasna, i mislim da je DEATH PROOF obuhvatio i tu kulturološku liniju.
Kad je reč o deonicama vezanim za karaktere, to je takođe čak za nijansu zanimljivije nego u filmovima koji su inspirisali Tarantina. Tamo takođe postoje dugi monolozi kroz koje junaci pokušavaju da nešto konstatuju, stalne verbalne provokacije, i sl. I to je Tarantino lepo preneo u DAETH PROOF. Isto tako mislim da psihološka igra između prvog seta devojaka i Stuntman Mikea ima jasnu žanrovsku doslednost.
Konačno odnos prema telesnosti junaka takođe ima grindhouse tradiciju. Reditelji tog pravca su naročitu pažnju poklanjali fizičkom izgledu i stanju svojih likova i pokušajima da se njihovo prisustvo oseti na ekranu. I Tarantino je to vrlo dobro dijagnostikovao za razliku od vrlo površnog Rodriguezovog postupka u PLANET TERROR.
Naravno, znam da će me svi domah optužiti da mi je film bio prijatan zbog toga što u njemu glumi Mary Elizabeth Winstead i te gnusne podmetačine moram odmah da negiram. Mada. Jesam se obradovao.
U svakom slučaju, DEATH PROOF je film čije su mane iste one koje imaju VANISHING POINT i slični naslovi koji se danas smatraju klasicima žanra, a sve prednosti koje ima proističu iz Tarantinovog unapređenja izvornog materijala.
Smatram da je za pravilan doživljaj ovog filma potrebno izvesno predznanje, ali da mu u ovom konkretnom slučaju to nije mana već naprosto karakteristika kao što ni sam GRINDHOUSE nije film već konceptualna umetnost a DEATH PROOF u suštini samo fusnota u obliku filma.
* * * / * * * *
Liz Smith reports that exploitation cinema's biggest champion Quentin Tarentino is keen on remaking Russ Meyer's cult campy soft-porn 1965 classic "Faster Pussycat! Kill! Kill!".
The original followed three thrill-seeking strippers who come upon a couple in the desert. Killing the boyfriend, they take the girl hostage and hide out on a secluded ranch owned by a wheelchair-bound redneck farmer and his two dim-witted sons. Trying to locate the man's hidden fortune, they seduce the sons to learn of the secret - soon all hell breaks loose.
Tarantino wants his version to be even raunchier, and his first choices are Kim Kardashian, Eva Mendes and none other than Britney Spears for the roles.
Quote from: "crippled_avenger"Liz Smith reports that exploitation cinema's biggest champion Quentin Tarentino is keen on remaking Russ Meyer's cult campy soft-porn 1965 classic "Faster Pussycat! Kill! Kill!".
The original followed three thrill-seeking strippers who come upon a couple in the desert. Killing the boyfriend, they take the girl hostage and hide out on a secluded ranch owned by a wheelchair-bound redneck farmer and his two dim-witted sons. Trying to locate the man's hidden fortune, they seduce the sons to learn of the secret - soon all hell breaks loose.
Tarantino wants his version to be even raunchier, and his first choices are Kim Kardashian, Eva Mendes and none other than Britney Spears for the roles.
Pitam se ko će da igra dim-witted sinove. U originalu su ovo bili meni prilično dragi likovi. No, da budem iskren, plašim se da će Tarantino da prenaglasi girl-power element originala (gde je to bilo em sveže em kempi) pa da će film da bude jedno malo didaktičko i neprijatno iskustvo, ali ajde da vidimo...
Quote from: "Kunac"Quote from: "Ghoul"Predlog broj 2: EATEN ALIVE (hooper) + ALLIGATOR (teague)
A šta kažete na ovu varijaciju Ghoulovog predloga...
Predlog br. 4: Tobe Hooper's Eaten Alive (1977) + Umberto Lenzi's Mangiati vivi a.k.a. Eaten Alive (1980); s podnaslovom POSTOJI VIŠE OD JEDNOG NAČINA DA VAS ŽIVE POJEDU.
Incidentally, upravo skidam oba ta filma! :!:
PREDLOG ZA GH:
FEAST 2
ALIEN RAIDERS
Moze,samo sto ovaj sloppy feast 2 ode direkt na video,a AR imase bar neku bioskopsku karijeru.....ali za After Dark Horrorfest sigurno ! :!:
Ja sam i mislio na GH u kučnim uslovima. Dobar DVDrip i uživancija.
Rutger Hauer Is... HOBO WITH A SHOTGUN!
http://www.aintitcool.com/node/44707 (http://www.aintitcool.com/node/44707)
Već kada si pomenuo Ruđera. Pojavio se dokumentarac o čoveku - Blond, Blue Eyes. Deluje zanimljivo.
Aleks nastavlja da podiže ulog svakim novim videom!
New Film 'Machete' evokes race war (http://www.youtube.com/watch?v=6b6OcO3DoZQ#lq-lq2-hq-vhq-hd)
GrindHouse iskustvo se nastavlja... Urađen je prvi film zasnovan na lažnim trejlerima koji su išli uz Planet terror i Death Proof. ("Planeta terora" R. Rodrigeza i "Otporan na smrt" K. Tarantina. DVD izdanja ovih filmova objavio je Cinears i po ceni jednog mogu se kupiti u bolje snabdevenim prodajnim objektima). Rodriguezov Machete samo što nije spreman da izađe pred publiku.
SINOPSIS::: Posto je jedva preživeo borbu sa zlim meksickim narko dilerom Torezom, bivši federalac Mačeta (Danny Trejo) pobegao je u Teksas želeći da zaboravi tragičnu prošlost. Ali, sve što će pronaći je lanac korupcije i prevare u kome je nastradao senator, a on optužen za ubistvo. Mačeta odlučuje da skine ljagu sa svog imena i na tragu je da otkrije veliku zaveru iza koje ponovo stoji nekadašnji neprijatelj. U pomoć mu pristiže stari prijatelj, sada sveštenik dobar u molitvama, ali jos bolji sa pištoljem, Luz, žena pobunjeničkog duha, a na tragu mu je i Sartana, prelepa agentkinja.
Glavne uloge tumače Deni Treho, Džesika Alba, Mišel Rodrigez, Robert de Niro, Stiven Sigal, Don Džonson, Čič Marin, Džef Fehi i Lindsi Lohan.
"Machete" u domaće bioskope tokom septembra.
Kompanija 20th Centuy Fox objavila je ekskluzivne fotografije Albe i Sigala + poster. Poster i fotke su urađene u dobro prepoznatljivom GH fazonu:::
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi30.tinypic.com%2F2vnf9cp.jpg&hash=2a0c5c2a9cfd716119df1af78917584656377dca)
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kakav fail od albinog postera... da su hvatali random skrinšot bolje bi ispalo.
Nije to baš poster, već više, kao, lobby card. Ali jeste pobezveze.
Evo i trejlera za Skitnicu sa sačmaricom...
http://www.youtube.com/watch?v=9nbl78cj5vM&feature=player_embedded
A i super nasilnog red band trailera za Mačetu:::
http://www.youtube.com/watch?v=kUgGRkXTdfs&feature=related
Mačeta je skoro pa dno dna. Neduhovita, loše snimljena, loše glumljena, bez duha, zbrzana... Čistokrvni promašaj. Žali bože cene bioskopske ulaznice.
Podvrgao sam se novom Rodriguezovom eksperimentu MACHETE koji potpisuje zajedno sa Ethanom maniquisom, svojim montažerom. Ovaj film spada u Rodriguezovu eksperimentalnu fazu početu sa ONCE UPON A TIME IN MEXICO i izuzev SIN CITYja predstavlja možda i najbolji film nastao u ovoj stranputici njegove karijere.
Za MACHETE se može reći da je kvalitetniji od PLANET TERRORa, pre svega utoliko što je manje talenta uludo protraćeno, a delom i zato što ako imamo u vidu da je ipak reč o ekranizaciji vic-trejlera, nije se ni moglo očekivati išta bolje. Rečju, PLANET TERROR je sa svojim konceptom Grindhouse posvete bio i verovatno poslednja instanca u kojoj se od Rodrigueza išta moglo očekivati i MACHETE dolazi u fazi kada se od njega više apsolutno ništa ne očekuje.
Za razliku od DEATH PROOFa nastalog takođe u povodu GRINDHOUSEa, koji je ipak ozbiljan film, voleli ga ili ne, PLANET TERROR je imao problem u tome što je ne samo na planu ideje već pre svega realizacija potpuno flah. odnosno, Rodriguez je ironiju prema žanru, formi, pripovedanju i svemu ostalom preneo i na sam proces nastanka filma, i tu je moralo doći do njegovog potpunog odvajanja od bilo kakve smislene kinematografije.
MACHETE je film koji nesumnjivo beleži niz duhovitih ideja, niz uspelih gegova, čak i niz ludicnih zaključaka na nivou artikulisanja grindhouse ugođaja, međutim, film je u toj meri zanatski ispušten, u toj meri pripovedački raspojasan i besmislen, bez i najosnovnije sposobnosti za razlikovanje važnog od nevažnog, da na kraju deluje kao jedan prilično infantilan film-esej.
Ideja da Danny Trejo igra naslovnog junaka, dovela je do jednog lepog grindhouse insighta koji je naravno jasan svima onima koji prate ovu vrstu filma, a to je cela podvrsta filmova sa zvezdama-debilima, odnosno masa fiolmova u kojima je glavni junak zapravo najslabija karika. Danny Trejo je epizodista, i ubacivanje nega u glavnu rolu ekvivalentno je uzimanju Rona Marchinija koji je navodno namučio Chuck Norisa u kimonu, ali ne i na ekranu, za glavnu ulogu - a takve stvari su se dešavale. Međutim, isto tako, filmovi sa opskurnim mentolima u glavnim ulogama su imali draž u tome što su reditelji istrajavali u forsiranju marginalca do statusa zvezde, dočim je Rodriguez nesiguran i pretrpava film popularnim epizodistima i vinjetama, te se gubi fokus sa glavnog, naslovnog lika i on na kraju ostaje zatrpan nizom viškova.
Film traje 105 minuta a ostavlja utisak kao da traje 155, međutim, iako je slab i naporan, ima izvesnu dozu šarma koja me je držala budnim, a ono bar zbog detalja poput reliciranja scena iz DESPERADOa, namernih grešaka u kontinuitetu sa Mercedesom Jeffa Faheya ili pojavljivanja puce iz EL MARIACHIja.
Ljudi koji ne vole film, a naročito oni koji ne vole akcioni film i misle da je to zabava za budale, mogu čak u izvesnoj meri i uživati u ovoj papazjaniji.
To sve nažalost ne znači, da ovo nije još jedan udarac u zid dead enda sa kojim se RR suočava, niti remeti status THE FACULTYja kao njegovog zapravo ako ne najupečatljivijeg a ono najkonzistentnijeg filma.
* * / * * * *
Auh... Nije da sam bogznašta očekivao, ali, biće, dakle bolno.
Meni se Planeta terora kud-i-kamo više dopala od Mačete. Kompaktnija je i više isporučuje. Mačeta je jednostavno... tupa.
Pa ko zna. Tebi možda neće, dopao ti se EXPENDABLES...
Vidim da se ovde bije ispod pojasa :lol: Proverićemo.
Plaćenici su za Mačetu Građanin Kejn.
Uh, bogami, tu se ne bih složio. Meni je MACHETE nekako ipak bio film za vreme kog nisam imao poriv da pripaljujem Internet na telefonu. :)
Verovatno nije bilo dometa u sali.
...MACHETE je teško podnošljiva, promašena i nimalo zanimljiva brljotina, a što je, barem po mom sudu, najporaznije za još jedan Rodriguezov ćorak, je što svi filmovi sa kojima je ovde izvoleo da se (valjda dobronamerno) sprda u krajnjem zbiru budu daleko superiorniji u odnosu na ovaj njegov postmodernistički spoof (premerite ga samo sa REFORM SCHOOL GIRLS sa Sybil Danning)... uz to, film nije ni naročito zabavan i sve vrvi od (usudio bih se da procenim, nenamerne) aljkavosti u tehničkoj egzekuciji... kanda su godine filmmaking u garaži napokon i potpuno došle po svoje...
Ko da gledam da će meni ovo uz Piranu 3D biti najbolji film decenije :-)
ovo bre ko u srbskom filmu. :evil:
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Sigal je u Mačeti? Jebote na čemu je Rodrigez... :lol:
jef fahey je zakon u machetetu
This movie sucks. Don't watch this movie.
a je, sve djeluje nekako zbrčkano i nagurano, i to posebno kako film odmiče i uvlači sve više i više likova i novih elemenata u samo priču. od načelnog problema (i)legalne imigracije dobivamo napornu političko - interesnu sapunjaru... a što se likova tiče, pa recimo da se moglo i bez lindsay lohan, svrhu čijeg lika baš i ne vidim, osim što ona donekle glumi samu sebe (a i vruča je tema tabloida, te dobra reklama filmu)... no, u toj svojoj lascivnoj ulozi onda je mogla barem pokazati sise, jer iz scene u bazenu djeluje da je golotinju odradila njezina dublerka... nije valjda da se jedna razvratna, neposlušna lohanica boji da nešto kompromituje... ccc
Култура
ФИЛМСКА КРИТИКА
Мексички устанак против терора
Филм ,,Мачета", режија Роберто Родригез, улоге: Дени Трехо, Стивен Сигал, Роберт де Ниро, Џесика Алба, Дон Џонсон... Tрајање 104 минута, производња САД 2010.
Дени Трехо као Мачета у истоименом филму Роберта Родригеза
Језовит, али и смешан, самодовољан и самозадовољан као што му је, уосталом, и аутор, филм ,,Мачета" мексичко-америчког вундеркинда Роберта Родригеза, типичан је изданак експлоатацијског акционо-авантуристичког Б-филма, какав је цветао у Америци 70-их година прошлог века. Р. Р. је на њему одрастао, да би касније, придодавши му заједно са Тарантином једну нову димензију, од тога направио нови и помодан филмски поджанр.
Погађате, дакле, реч је о филму у којем је поново крви до колена (богами, и до браде), у којем се пуца из свих ватрених оружја, лете главе на све стране, па и просута црева, у којем се шетају оскудно одевене лепотице и зликовци за једнократну употребу, a смрт је као добар дан. Не штеди се нико и ништа није свето. У томе и јесте штос у оваквој врсти филмова. Они су ту да вас забаве, уколико сте оваквој врсти забава склони, и ништа у њима не схватите озбиљно, и под условом да нисте од оних што инсистирају на стриктном поштовању политичке коректности, јер то овде нећете наћи.
Филм ,,Мачета" наставља Родригезову линију коју познајемо из филмова ,,Маријачи", ,,Десперадо", ,,Било једном у Мексику", а утврдили смо је и у његовој ,,Планети терора" (филму из пројекта ,,Grindhouse" двојца Тарантино–Родригез). Реч је о делу које је настало на основу лажног форшпана с којим је Родригез опипао пулс америчке нације пре него што се упустио у реализацију сценарија који је написао још 1993. године. Како је ,,штос" са форшпаном прошао одлично, редитељ који је током каријере својим филмовима знатно променио позицију својих сународника Мексиканаца у америчком филму – премештајући их из улога шаљивих или трагичних епизодиста у улоге наочитих и гламурозних хероја – сада се одлучио за још један корак даље. Подарио је Хиспаноамериканцима првог великог акционог хероја – Мачету, наменивши популарном холивудском епизодисти и споредном глумцу Денију Треху и прву велику главну улогу.
И не само то. Испод свог тог стриповско-акционо-крвавог Родригезовог филмског замешатељства, крије се и политички веома ангажовани филм у којем ,,добри Мексиканци" током правог устанка против терора у који их је повео Мачета, побеђују ,,зле Американце", решавајући успут своје тешке имигрантске проблеме у сукобу са расистима, фашистима и мафијашима са територије моћног северног суседа.
Ту је Родригез стварно пустио својој машти на вољу. Мачета, бивши мексички полицајац којем је наркокартел побио породицу, одметнуо се преко границе где својом мачетом дели правду и брани илегалне усељенике од шефа америчке наркомафије (самоиронично га игра Стивен Сигал), десничарског сенатора (Роберт де Ниро као прави шлаг на торту), његовог компањона (смешан и забаван Дон Џонсон) и перверзног политичара (Џеф Феј)...
Чисти ,,треш" са отвореном политичком позадином. Пародично ,,а ла" Родригез. Непрепоручљиво млађима од 18 година. Никако!
Дубравка Лакић
објављено: 01.10.2010.
Ja nemam nista pametnije da kazem osim da Macetu jos nisam gledao, ali sam sa zakasnjenjem od oko dve godine konacno seo za Death Proof i Planet Terror. Potonji simpatican, nista posebno, ali ok; Death Proof prilicno dojajan, u potpunosti vredan ponovnog gledanja. Scena lap dancea me je naterala da pauziram film, i izadjem na malo svezeg vazduha, te ucinila da se Coastersi vrte na mp3 plejeru sledecih par nedelja.
Bolje bi mu bilo da je pustio Džarmuša da mu snimi film.
Treho je prava klada...
Jedine svetle tačke su harakiri Sigala i De Niro, naročito njegova smrt.
Planet Teror je mnogo, mnogo bolji film, a Death Proof je beskrajno dosadan i neuverljiv.
E, tako...
Planet Terror je ubedljivo najbolji od ta tri. Mačeta ubedljivo najslabija.
Planet Terror je film koji sam u potpunosti zaboravio posle završetka odjavne špice. Mogu misliti kakav je Mačeta.
American Grindhouse (2010)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fa.imageshack.us%2Fimg819%2F2203%2Fagfestivalposterweb800x.jpg&hash=5c7c77e5e5009b69e50cba7a3c988d4bc15e708b)
This documentary explores the hidden history of the American Exploitation Film. The movie digs deep into this often overlooked category of U.S. cinema and unearths the shameless and occasionally shocking origins of this popular entertainment.
Director: Elijah Drenner
Cast:
John Landis
Joe Dante
William Lustig
Allison Anders
Jack Hill
Fred Williamson
Herschell Gordon Lewis
Fred Olen Ray
Larry Cohen
http://www.imdb.com/title/tt1307861/ (http://www.imdb.com/title/tt1307861/)
http://www.megaupload.com/?d=MHZGLSF3
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...upravo sam pogledao gorepomenuti dokumentarac AMERICAN GRINDHOUSE i dosta sam zadovoljan viđenim; baš kao i svaki drugi uspeo dokumentarac, AG počiva na jasnoj ideji i umešnoj i smislenoj montaži, uz to, ono što je veoma značajno kod ovakvih "udžbeničkih" dokumentarnih radova, sagovornici su odlično odabrani i raspoloženi za priču (posebno bih izdvojio veoma nadahnutog Johna Landisa i Larryja Cohena koji u samo par replika uspe da sažme svetonazor majstora iz domena eksploatacijskog), a film je pregledan i za one manje verzirane za ovu materiju...
Dobar je AG!
pogledao sam danas Nude Nuns With Big Guns; film je bezvezan, al' ako nista lepo sam se nasmejao. harvi, obavezno gledaj ima dosta golotinje.
QuoteUpon taking her vows to become a nun, Sister Sarah is abused, brainwashed and drugged into submission by the corrupt clergy. On the verge of death from a lethal dose of drugs, Sister Sarah receives a message from GOD telling her to take vengeance on all those who did her wrong. Armed with God's will and an arsenal of big guns, she dispenses Judgment Day on her former tormentors. When the church hires the merciless motorcycle gang the "Los Muertos" to track down and kill her they soon realize that this SISTER IS ONE BAD MOTHER.
trailer
http://horror.break.com/nude-nuns-with-big-guns-trailer-brings-nusploitation/nude-nuns-with-big-guns-trailer-brings-nusploitation (http://horror.break.com/nude-nuns-with-big-guns-trailer-brings-nusploitation/nude-nuns-with-big-guns-trailer-brings-nusploitation)
Nude Nuns je neopisivo dosadan. Sve adute ispuca u prvih deset minuta da bi posle toga samo razvlacio neinventivnu radnju. Ni golotinja ga ne spasava. U poredjenju s njim Machete je umetnicko delo.
Lipton Brisk Machete (http://www.youtube.com/watch?v=_eUZ0-_6LqY#ws)
100 minutes of blood-soaked, boobs-filled grindhouse movie trailers (ез син он http://io9.com/ (http://io9.com/))
http://youtu.be/8dNonpf3jDA (http://youtu.be/8dNonpf3jDA)