ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

THE CHASER je odličan film, sjanog ritma.

Quote from: "cutter"stilske figure kojima se dobija preneseno znacenje reci - metafora, hiperbola i ta sranja. ovde to koristim u smislu uobicajene sheme, motiva, nesto sto moze biti ocekivano, ali ipak ne kao klise (ako je izvedeno kako treba). recimo, jedan dobar sajt: http://tvtropes.org/pmwiki/pmwiki.php/Main/Gorn?from=Main.TorturePorn

ne razumem. jesu li metafora i hiperbola, ili su uobičajene sheme?

čega sheme?

daj jednu "uobičajenu shemu"?

evo ti je u linku, kao torture porn. u smislu u kome sam pominjao trope u tekstu, i za cije upotrebu sam ponudio primer. a u skoli sam ih ucio kao stilske figure kojima rec dobije preneseno znacenje. ako mislis da je nesto sporno, slobodno me prosvetli, nisam ti bas za propitivanja tog tipa.

ne, ne, nije mi ništa sporno, samo nisam razumeo.

a pokušavam da skontam celu raspravu oko čejsera, pratim pažljivo, pa mi taj deo nije jasan i pomislio sam da je razlog tome to što ne razumem u kom smislu upotrebljavaš reč "trope".

ipak je Chaser film koji je uzburkao strasti, i još se sviđa mister mehi, što je velika stvar.

svakako topla (tropska) preporuka  

Haha, velika stvar. Mislim, istina je da ja gledam jako malo filmova a još manje mi se njih dopadne tako da... možda i jeste.

Mislim da je Crippleova analiza Chasera prilično sistematična i čak ne ni pogrešna u fenomenološkom smislu. Konstatacije su mu na mestu i sve to. Ali za moj novac, The Chaser je onaj proverbijalni more than a sum of its parts. Ako se posmatra strogo žanrovski (čemu Cripple u svojoj analizi ne uspeva da umakne), zaista se može činiti da ima neoprostive greške. Ali mislim da ga nema svrhe tako posmatrati (kao ni većinu azijskih filmova koje sam ja u životu pogledao) jer nije pravljen da bude žanrovski fim, uprkos naoko jasnoj žanrovskoj profilisanosti. Ali samo naoko. Da li je on torture porn, triler ili socijalna drama sa naglašenim elementima farse? Ni jedno od ta tri, ali koristi karakteristike (i trope, pretpostavljam) sva tri (četiri?) žanra da postigne svoj cilj. Koji mu je cilj? Pomalo od svega: da te dovede u drhtavo uzbuđenje, da te zgadi, da ispita šta se dešava kada se radikalna sociopatija susretne sa blago karikiranom (ali uverljivom) zajednicom, pa čak i da te malo tear-jerkuje.

Istina je da su neke stvari škripave - već smo se složili da je subplot sa devojčicom u najmanju ruku nedorečen, a evo, Cripple njegovu manipulativnost naziva besramnom, ali za moj novac, ovo ne oduzima filmu na efektnosti jer nije presudno za osnovne motive. Čak i bez čitavog subplota oko devojčice, ovo bi bio jednako uspeo film. Što ga svakako čini nesavršenim jer, eto, ima viškove bez kojih se može, ali ga ne čini neuspešnim...

Mehmete, pa barem me ti dovoljno poznaješ i znaš da ja nikada ne koristim žanrovska pravila kao neku ezoteričnu stvar, bolnu i neizrecivu, u odnosu na koju poredim filmove. Što se mene tiče, iako sam ljubitelj žanra, ne smatram da filmovi treba da streme žanrovskoj ortodoksnosti, i štaviše, iako mnoge ortodoksne filmove volim, smatram da u savremenom žanrovskom filmu najveću pažnju treba da privlače oni koji prevazilaze ta ograničenja.

Ono što je moja teza više ima veze sa samim zanatom. Ja smatram da je CHASER u tom smislu prilično diskutabilan film. Naravno, ja iskreno žalim za tim što nije uspeo da mi se dopadne. Mnogo više volim kad mi se film dopadne pa se svi zajedno ložimo nego kad je obrnuto. Ali, šta mogu, nije me kupio a ovo je samo pokušaj da objasnim šta bi na nivou strukture moglo da bude problem.

Sve drugo, što je subjektivno, ja ne mogu da analiziram, a upravo to što je subjektivno, i što se ne može analizirati jeste zapravo i najdragoceniji segment nekog filma. Očigledno je da sam ja suviše loš čovek da bih mogao da budem blagoslovljen mogućnošću uživanja u CHASERu.

Nisi ti toliko loš čovek koliko se kao takav predstavljaš u medijima.

Pazi, upravo taj element zanatstva sam promišljao dok sam kucao prethodni post i pomislio da je možda nezgodno da ga potežem jer je na osnovnom zanatskom nivou (kamera, montaža, tempo režije) The Chaser uglavnom odličan. Istina je da on ima zanatske propuste (pominjana epizoda sa devojčicom, pa onda ono sa ključevima u džepu) što ga čini krnjim remek-delom, ali generalno je izuzetno elegantno napravljen. Recimo, karakterizacija glavnog lika je toliko neosetno, suptilno razvijana da skoro ne primetiš kada od pimpa koji je besan što mu neko preprodaje kurve postaje brižni PRIPADNIK DRUŠTVA koji želi da spase jedan u osnovi nedužan život i otkloni tumor sa tkiva zajednice. Zero to hero matrica je ovde toliko prirodno uvedena u tkivo pripovedanja da me praktično obuzme milina kad na to pomislim.

Jednako tako, kada glavni junak pred kraj filma formalno (i dobrim delom suštinski) izgubi poverenje ostatka zajednice, to je opet izvedeno izvanredno elegantno. Sama inercija neuspeha od njega pravi gubitnika iako je po logici stvari on neizbežno u pravu. Zato i naglašavam da je ovde bitno stvari posmatrati iz perspektive farse a ne pokušavati da se odvijanje radnje prihvati samo na nivou svakodnevne logike. Sam vizuelni prikaz njegovog sukoba sa policijom na onom mestu kad prekopavaju zemljište i dođe nalog za njegovo privođenje je izvanredan jer nema (holivudske) prenaglašene stilizacije i spektar konfuznih emocija među svim učesnicima ovih scena je izvanredno iskomuniciran.

Dakle, ovo su zanatski gledano besprekorni elementi: koreografija, režija, montaža, gluma, scenografija, sve jako dobro odrađeno. S druge strane, da, prihvatam da zanatski već više puta pominjani problematični delovi imaju de fakto problem na zanatskom planu. Ali, kako već rekoh, ovo mi (subjektivno, dakako), ne narušava celokupni dojam filma.

Tvoj poslednji post me je podsetio na moju analizu filma MECHANIK...

Er... dobro?

Quote from: "Meho Krljic"Er... dobro?

http://dobanevinosti.blogspot.com/2008/07/televizijska-jesen.html

ne znam jel lapsus il je zamena kifera donaldom trebalo da bude fazon – ako jeste, ne vidim u čemu je.

isto to za "24 sata svadba" = koja se ipak zove "48 sata svadba", a u skladu sa tim i naslov koji sam ja odavno (ovde na forumu) zapljunuo za priču – 48 SATI: SAHRANA.

inače, fino je ovo, al uapsiće te jednog od ovih dana što poimence turaš u ovakav kontext žive ljude.

Quote from: "Ghoul"a u skladu sa tim i naslov koji sam ja odavno (ovde na forumu) zapljunuo za priču – 48 SATI: SAHRANA.

Pre pola godine i koji mesec sam na BG tv Metropolis video nekog lika koji tvrdi da je on izmislio tu kovanicu. Srđan Kesić mu je ime.

QuoteTelevizija Košava će u koprodukciji sa crnogorskom državnom televizijom snimiti seriju "CSI: Budva". Štaviše, u jednoj epizodi će se kao gost hotela "Đilardino" u Bećićima pojaviti i Horejšio Kejn lično! "Dejvid Karuzo je već snimio svoje scene i oduševljen je Bokom Kotorskom, kaže da će se sigurno vratiti u Crnu Goru, u najskorije vreme", sa ponosom ističe crnogorski ministar turizma Predrag Nenezić.

Mene je ovo najviše podsetilo na pravi domaći rimejk jedne od Mehovih omiljenih serija: Baywatch.

...ja sam to gledao, Milica Milša je, baš kao i u ROĐENIMA SJUTRA, za nezaborav, a overio sam back then (nažalost nemam zabeleženo) i spiin-off tog CG preratka - ČUVARE SKI STAZE... Draško Đurović at his wildest!

Milica Milša je, nažalost, uvek za nezaborav.

....da pokrenemo petciju, ili nešto drastičnije, RTSu, da vaskrsne i ponovo prikaže njenu ŽIVANU??? Milica Milša  puta pet... da se zna!

Plašim se overdouza.

Donald i Kiefer su mi delovali kao lapsus koji bi se mogao sresti u našim medijima. To nije neka fora da se izvrneš od smeha, samo je detalj.

Što se SVADBE i SAHRANE tiče, SAHRANA bi trebalo da se zove 40 DANA, a za svadbu znam da je 48 SATI, nego pošto 24 toliko figurira, htedoh da malo povežem 24 kao primer dobre televizije i ovo što je kod nas uzeto za uzor (ne kažem da toga tamo nema) pa sam zato dvaput stavio istu cifru... Moguće da mi taj fini vez baš nije uspeo...

Pogledao sam MACABRE Williama Castlea, courtesy of Ginger.

Ovo je film koji mi je privukao pažnju u vreme kada se pričalo da će ga Zemeckis rimejkovati za Dark Castle. Žao mi je što od tog projekta nije bilo ništa pošto je koliko sam shvatao to trebalo da bude jedan opak niskobudžetni film u kome je Zemeckis mogao da se opusti.

I zaista MACABRE je dušu dao za rimejk. U tehničkom smislu, ovo je najmanje ambiciozan Castleov film, nema nikavih tehničkih gimmicka. Iako je sama realizacija osrednja, ispod suspense trilera koje su radili Hitchcock ili Cluzot, i sturktura filma narušena flešbekovima koji su red herrings.

Međutim, sam high concept sa devojčicom koja je živa zakopana je odličan i sa njenim ocem seoskim lekarom koji sumnjiči razne ljude da žele da mu se osvete jer nije uspeo da im izleči bližnje. U nekoj novoj preradi, to bi zaista mogao da bude prilično intenzivan triler sa čistim suspenseom i dosta bizarnosti.

Nažalost od rimejka nije bilo ništa ali ostaje film koji u sebi očigledno ima kvalitet čim je tako inspirativan. Čini se ipak da taj kvalitet nije isplivao u Castleovoj interpretaciji.

* * / * * * *

Comic-Con Q&A
Alan Moore Still Knows the Score!
''Watchmen,'' his upcoming projects, ''South Park,'' shaving his beard -- the relatively reclusive comics author talks about all that and more in a wide-ranging chat
Buzz up!More
ALAN MOORE ''Hollywood and American comics, I have given them a chance, and I think 20 years is long enough. If they were going to deliver, they would have done it by now''

By Nisha Gopalan
About two years ago, Warner Bros. announced that 300 director Zack Snyder would be adapting that gold standard of comics, Watchmen, into a feature film. The response was nothing short of orgiastic — from just about everyone except Watchmen's own scribe, Alan Moore, who remains ambivalent about all the hoopla. The 54-year-old writer and co-creator of such seminal and erudite works as From Hell and The League of Extraordinary Gentlemen (both of which were adapted into eagerly anticipated movies that failed to match the quality of Moore's source material) has a tangled history with the entertainment business. Even in a time when comics creators are more influential than ever (heck, The Spirit producers even gave comics great Frank Miller the helm), Moore simply wants to be left alone.

It's no surprise that Moore has been accused of being comics' Orson Welles — exceedingly talented, if profoundly prickly — and perhaps in certain incidents he's earned that description. But when EW phoned him at his home in Northampton, England, we encountered a very different creature, one not unlike (if we can be so bold) his DC Comics character from 1983, Swamp Thing. Like the gentle giant who fought abominable invaders to save his wetland digs, the soft-spoken, somewhat reclusive Moore (himself an imposing figure, what with his curtain of hair and thicket of beard) battles Hollywood producers and mainstream comics publishers — fiscally minded forces he perceives as sullying his creative properties. In this wide-ranging conversation, Moore talks in depth about those struggles, as well as about the new Watchmen movie, his upcoming League of Extraordinary Gentlemen installment, his next novel, magic, his favorite TV shows, singing along to South Park, and whether he'll ever shave his beard.

ENTERTAINMENT WEEKLY: Don't you have the slightest curiosity about what Watchmen director Zack Snyder is doing with your work?
ALAN MOORE: I would rather not know.

He's supposed to be a very nice guy.
He may very well be, but the thing is that he's also the person who made 300. I've not seen any recent comic book films, but I didn't particularly like the book 300. I had a lot of problems with it, and everything I heard or saw about the film tended to increase [those problems] rather than reduce them: [that] it was racist, it was homophobic, and above all it was sublimely stupid. I know that that's not what people going in to see a film like 300 are thinking about but...I wasn't impressed with that.... I talked to [director] Terry Gilliam in the '80s, and he asked me how I would make Watchmen into a film. I said, ''Well actually, Terry, if anybody asked me, I would have said, 'I wouldn't.''' And I think that Terry [who aborted his attempted adaptation of the book] eventually came to agree with me. There are things that we did with Watchmen that could only work in a comic, and were indeed designed to show off things that other media can't.

Do you think that any good can come of comics movies?
I increasingly fear that nothing good can come of almost any adaptation, and obviously that's sweeping. There are a couple of adaptations that are perhaps as good or better than the original work. But the vast majority of them are pointless.

ENTERTAINMENT WEEKLY: You haven't enjoyed any comics adaptations? Even the indie films?
ALAN MOORE: There are none that leap to mind. I hear that the American Splendor film was pretty good. I didn't go and see the film; I waited until Harvey [Pekar] and [his wife] Joyce came over to our house — so I got the live talk. We got to show them all around town — that was, for me, better than the film.

Has Warner Bros. tried to contact you about Watchmen?
No, they've all been told not to. They get the message.... I don't want anyone who works for DC comic books to contact me ever again, or I'll change my number.... And I only started to get upset when I found out they [DC Comics] were trying to rob me of a couple thousand pounds. It was over the Watchmen merchandising back in the '80s, and they kind of eventually said, Oh, yeah, I suppose you do deserve this money. But by that time the damage was done. The only reason I ended up working for them again, during the ABC period from '99-'04, [was because] I had already signed the contracts. [Editor's note: DC Comics President and Publisher Paul Levitz responds: ''We've had our disagreements with Alan over the years, but we remain great fans of his talent and would be happy to work with him in the future if he's ever inclined.'']

Is there anything anyone could offer you — possibly outside DC and Warner Bros. — that could interest you in Hollywood?
There's nothing that could get me interested in Hollywood again. And, increasingly, there's nothing that could get me interested in the American comics industry again. I'm going to be doing more comics bits in the future, but that will most certainly be with [his new publisher] Top Shelf or [an indie] company like Top Shelf. Hollywood and American comics, I have given them a chance, and I think 20 years is long enough. If they were going to deliver, they would have done it by now.

You, yourself, wrote a movie script in the '80s, Fashion Beast.
I did, which was mercifully never itself brought to the screen. I was doing it to see if I could write a screenplay, and to hang out with Malcolm McLaren [the Sex Pistols impresario, who commissioned it]. Which is always a fun prospect.

What is it like when Alan Moore and Malcolm McLaren hang out?
It's kind of about as amusing and cynical as you might expect.

He's considered by some to be the great evil music Svengali.
I'm not saying that other people may not have completely different relationships with Malcolm — and, indeed, from reading most of the Sex Pistols biographies, I assume that that's probably the case. But speaking only of my relationship with him: He was an awful lot of fun, he seemed full of ideas, and I got paid for a film which never came out, so I was very happy with the arrangement! But the thing is, Malcolm was also coming up with original ideas for these movies, which is something else that attracted me to him.... I see a kind of degeneration, if you like, in terms of the imagination that those pioneers back in the 19th century were gifted with, and kind of recycled ideas that we tend to get served up today.... So often any film that comes out is going to be a sequel or a remake of a film that's previously existed — and I've said this before, that we will see Johnny Depp playing Cap'n Crunch. It will eventually get down to breakfast cereal mascots!

ENTERTAINMENT WEEKLY: Whereas The League of Extraordinary Gentlemen (Vol. III): Century [the third installment of Moore's Victorian-sleuthing comic, due out in April 2009] certainly stokes the imagination. Why make it span three different eras — 1910, 1968, and the present?
ALAN MOORE: [Artist] Kevin O'Neill and I realized we had two or three powerful stories. It struck us that we might be able to link them together and make a three-part narrative, so that each would stand on it's own and thus relieve readers from any kind of painful cliffhanger between issues. And yet the three stories would link up into an overarching narrative involving the occult.

How do these three chapters split up?
The first book surrounds the coronation of King George, which was also the time The Threepenny Opera was set, a comet was passing overhead, and there was a general feeling of dread in the air. We're also focusing on the occult fictions written around the time...[like] Aleister Crowley's [1917] book, Moonchild, where the protagonists are attempting to create a magically produced child that is going to usher in a new era. [Protagonist] Mina and her associates are trying to stop this from happening. The second book [revolves around] that sort of peculiar 1960s melding of pop-star psychedelic lifestyles, fashionable interest in occultism, and to some degree, at least in London, crime. We've got it all centered around a big rock concert at Hyde Park. Running all the way through this is the continuing threat of the production of a magical child who, by this time, we are fairly certain, is the Antichrist. That second book ends very badly. And they're not having a lot of luck. The third part is set in 2008 when, basically, the League is in pieces — barely exists anymore — and this turns out to be the time at which the Antichrist project finally pays off, and this magical child finally manifests in quite a terrifying form.

You've moved publishers, from DC Comics to Top Shelf. Do you think that's going to affect your work?
I think it's already affecting it. Both me and Kevin have noticed that this third volume is very different from the first two [published by DC Comics]. It's almost as if, while we were working within the confines of mainstream comics, we were perhaps unconsciously following the basic formulae of mainstream comics. There's sort of an overall ethos in comics, in boys' adventure fiction, that you must keep the action moving, which is not really the standards of serious drama or literature. So for this third volume of League, we're pacing it differently. It's got a lot more depth and resonance, a lot more drama for the money. And I think that the payoff of this first volume is that it will be frightening enough to make the reader forget the slower pace of its opening pages.

Tell me about your upcoming novel, Jerusalem.
This is probably taking up most of my time at the moment. I've been working on it for a couple of years, and it'll probably take me another couple of years. I've just passed the two-thirds mark; I did a word count and it was 400,000 words, which means that the end result is gonna be somewhere between half and three-fourths of a million!

ENTERTAINMENT WEEKLY: What is it about?
ALAN MOORE: My first novel [Voice of the Fire, released in the U.S. in 2004] was based upon Northamptonshire [where he grew up], over the course of some 6,000 years. I thought that with this one I would focus in upon this relatively tiny section of Northamptonshire called the Boroughs. So I started to connect different things. I remembered an incident during my childhood when my younger brother, Mike, had choked at the age of 3 or 4, on a cough sweet...and he stopped breathing. Because it was a fairly rundown neighborhood — there wasn't a telephone anywhere and nobody owned a car — a man who lived next door to us who had a vegetable delivery service drove my brother and mother to the hospital. It would have taken about 10 minutes, even at a generous estimate; apparently after two-and-a-half minutes I think it's brain death. However, he was back with us by the end of the week. I've been having some thoughts myself, about life and death, where we go when we die.

Is death a fearful thing to you?
Not at all. Hopefully, if I do this book well enough, it will perhaps take some of the anxiety off of other people's shoulders.... I started to formulate the theory, the idea [of] transience: that time is passing, that life is going away somewhere, that this is an illusion, albeit a persistent one. And I think I can explain that pretty well somewhere in the course of this 2,000-page leviathan.

Is there is an afterlife?
Well, we may not need one. That, just conceivably, we might get this life forever — you'll have to read the book to get the whole thing, but I tend to think that it's a pretty watertight theory: That you don't get reincarnated as somebody else, but that you get reincarnated as yourself, over and over again. You have the same thoughts, and you never know you've done this [before], except for those little moments of déjà vu.

Do you ever relax and just watch television?
Selectively, mostly on DVD. The absolute pinnacle of anything I've seen recently has got to be The Wire. It's the most stunning piece of television that has ever come out of America, possibly the most stunning piece of television full-stop.

That's a great example of storytelling that takes its time.
Absolutely, that is grown-up television! It's novelistic. You get to find out about all these tiny different aspects of Baltimore, to build up a huge picture of the city with all of its intricacies — from the wharf side, to the kids in the projects, to the power structure with the boardrooms and police department and governor's office. And it's got some great writers: It's got George Pelecanos and David Simon. And so many wonderful characters, Bubbles, Omar. So yeah, everything else looks pretty lame next to The Wire.

What did you think of the ending?
We've not seen the final season yet. I'm quite excited — don't tell me anything about it!

With something like The Wire, do you ever think, I might not mind writing for TV?
That would be a possibility — but there again, I know how hard I have to fight. Apparently, HBO is being absolute princes with regards to The Wire. It's never had huge audiences, but they've kept funding it. They realized that this is a timeless, prestige program. This is one of the reasons why I've withdrawn from the comics industry: I do not want to deal with the people in these various industries anymore. But if that could somehow magically be arranged, if I could think of a good enough story, and if it had a chance of being the same caliber as The Wire — then yes, I would perhaps think about it. I do also tend to keep up on comedy programs.

ENTERTAINMENT WEEKLY: Which comedies do you like watching?
ALAN MOORE: Well, over here, at the moment, we've had some very good ones. There's The Mighty Boosh, which is [Laughs] idiotically wonderful, childish, surreal, fantasy. There's also a show called Snuffbox, and it's one of the darkest, funniest comedies I've seen in ages. And I'm a very big fan of South Park.

Have you seen the ''Trapped in the Closet'' episode?
[Sings] ''I'm trapped in the closet!'' Yeah, that was terrific. I thought the way that South Park handled that bit with the Scientologists was wonderful. I was also quite heartened the other day when watching the news to see that there were demonstrations outside the Scientology headquarters over here, and that they suddenly flashed to a clip showing all these demonstrators wearing V for Vendetta [Guy Fawkes] masks. That pleased me. That gave me a warm little glow.

Are you still practicing magic?
Well, yes, practice makes perfect.

How did you first get into it?
I was turning 40 and thinking, Oh dear, I'm probably going to have one of those midlife crisis things which always just bore the hell out of everybody. So it would probably be better if, rather than just having a midlife crisis, I just went completely screaming mad and declared myself to be a magician. That would, at least, be more colorful. So, I announced, on the night of my 40th birthday party — probably after more beers than I should have had — that, ''from this point on, I'm going to become a magician.'' And then the next morning you have to think, Oh, what have I said now? Are we going to have to go through with this? So I had to go about finding out what a magician was and what they did.

What is the end result of practicing magic? Is it a type of spirituality?
The mystics all seem to want to go straight to the Godhead; the magicians tend to be more curious. They want to explore all of the other aspects of the universe. For me, there is very little difference between magic and art. To me, the ultimate act of magic is to create something from nothing: It's like when the stage magician pulls the rabbit from the hat. And then you can turn that idea into a film, a book, a painting, a piece of music, something that other people can experience. That in itself is stunning. And I suppose this is one of the reasons I got into magic, because I was tired of ducking that question that people always ask writers, which is, ''Where do you get your ideas from?''

San Diego Comic-Con is approaching. Have you ever attended it?
No...well, I mean, I stopped going in the late '80s. I just thought, I don't really want to do this anymore, and I don't really see why I am doing it. I did find it a bit overwhelming and creepy.

Well, you're a god there.
And this is the last way that I want to be treated. The reason that I live in Northampton is because everyone here is kind of used to me. I mean, yeah, I do get a gratifying smattering of people coming up to me in the street and thanking me for me work, and shaking me hand and just wanting to wish me well.

Although if you shaved your beard and cut your hair — no one would recognize you!
No one would recognize me.

Would you ever do that?
No, just the laziness that has enabled my beard to get to this length is not a habit that I'm going to shake now.

But it would be your greatest act of magic: ''Where did Alan Moore go!?''
Well, I saw the possibility, of course. I've always got this option. So should I need to disappear, then, if you see a sort of bald guy with a really bad shaving rash going around somewhere, then that will probably be me, yeah.

Bog te jevo, koliki intervju. Ali Alan uvek isporučuje!!!

THIS DOES IT!
uzimam da gledam taj The Wire, pa kud puklo!

Dobar je WIRE. Nije to bez đavla.

Quote from: "crippled_avenger"Pogledao sam ŽEST Denisa Neimanda, courtesy of Ginger.
* * * / * * * *

pogledah, jedva nekako, ovaj ruski ŽEST kojem je kripl dao 3/4 (a CHASERU 2/4!).
za moje pare, radi se o ispraznom i zaboravljivom komadiću pop-nihilizma upakovanom u šareni hiperstilizovani spotovski celofan, i sa konstantnom žicom onog najgoreg što se može povezati sa 'ruskom dušom' (patetika, plakanje, urlanje, pijančenje, bauljanje, 'dubokoumna' pijana trućanja o poeziji i smislu života i paklu na zemlji...).
dijalozi su nesnosno prepotentni, to prosto BOLI koliko je izveštačeno, a i delivery tih dijaloga je krajnje problematičan (kad film nije na ta 2 jezika kojima OK baratam to mi obično ne privuče pažnju osim ako nije katastrofalno: e, ovde mi je privuklo pažnju – to je takvo beživotno recitovanje da i onaj ko ne govori ruski može da vidi koliko to neprirodno zvuči).
'likovi' ne postoje, nema ni emocije ni drame ni napetosti – kakav crni rollecoaster, dosadniji film od zanimljivije premise odavno nisam video, čak sam negde oko polovine bio u iskušenju da ugasim, ali se primorah da izdržim – dakle, film prosto smrdi po debitantštini, kao neki nadrkani studentski film kome je neko dao grdne pare da iživljava svoju klinačku filozofiju i klinačko ejpovanje sličnih zapadnjačkih orgija pop-nihilizma (kounen je dobra referenca za viz. stil ali i za opšti ugođaj sveta filma, ovo je otprilike kao ruska, pijana, smorena, doooosaaaadnaaaa verzija DOBERMANA).

ukratko, meni je ovo *(*) (tj. 2-)

Sinoć sam reprizirao SEVEN DAYS OF MAY John Frankenheimra. Voleo sam ovaj film kao dete, a u međuvremenu sam pogledao brojne rimejkove i ripoffove. Toliko puta je formula koju donosi ovaj roman & film korišćena da sam Frankenheimerov original danas deluje kao jedna od najtrošenijih matrica u savremenom Holivudu.

I baš zato više ni nemam realnu sliku o kvalitetu ovog filma pošto je njegov značaj nesporan i svakodnevno se pojavi nešto što me podseti na to. Kao što gledanje pojedinih filmova obesmisle brojni epigoni, tako ponekad procenjivanje nekih filmova obesmisle.

Ipak, hm, verovatno je dobar pošto u protivnom ta koncepcija ne bi zaživela, zar ne?

U vreme kad je bio aktuelan pokušao sam da gledam JUNO i odustao sam posle 10 minuta pošto mi je bilo nepodnošljivo. Međutim, sinoć sam bio primoran da ga pogledam, i još uvek stojim pri tome da mi utisak iz prvih 10 minuta nije bio pogrešan.

Naime, JUNO je komunikativniji oblik krajnje pretencioznog Sundance filma, sa svim onim obaveznim figurama koje Sundance film ima. Dakle, to je film smešten u američku provinciju, sa čime čak i relativni poznavaoci amerikane poput mene teško mogu da izađu na kraj, plus obilje cinizma unutar likova (što je u svakom slučaju bolje od cinizma u pristupu likovima i zato je JUNO ipak pozitivan primer), plus obilje pop referenci (o čijem krajnje sumnjivom kvalitetu govori situacija u kojoj Juno poredi Argenta i Gordon Lewisa što je u najmanju ruku neukusno), plus u suštini vrlo jednostavna, gotovo banalna priča.

Međutim, Jason Reitman uspeva da ovu celu stvar učini relativno pitkom (sinoć je moja sapatnica doduše zadremala u sceni diskusije u Argentu) time što je okupio vrlo mainstream cast, između ostalog transplantiravši Michael Ceru i Jason Batemana iz ARRESTED DEVELOPMENTa, plus Ellen Page koja je odlična faca, i nekako iskoristio njihov magnetizam da se napadna ekscentričnost Diablo Cody spakuje što efikasnije.

Pa ipak, ni u kom smislu, voleo ga ili ne, JUNO nije važan film. Mislim da je naprosto sticaj okolnosti učinio da ovaj film postigne toliki komercijalni uspeh koji ga je onda izdvojio iz mase Sundance naslova i približio velikim industrijskim priznanjima poput "oskara". ja sam ranije voleo filmove vog tipa, poput HEATHERS. Nažalost, JUNO nije HEATHERS.

* * 1/2 /  * * * *

Quote from: "Ghoul"

Quote from: "crippled_avenger"Pogledao sam ŽEST Denisa Neimanda, courtesy of Ginger.
* * * / * * * *

pogledah, jedva nekako, ovaj ruski ŽEST kojem je kripl dao 3/4 (a CHASERU 2/4!).
za moje pare, radi se o ispraznom i zaboravljivom komadiću pop-nihilizma upakovanom u šareni hiperstilizovani spotovski celofan, i sa konstantnom žicom onog najgoreg što se može povezati sa 'ruskom dušom' (patetika, plakanje, urlanje, pijančenje, bauljanje, 'dubokoumna' pijana trućanja o poeziji i smislu života i paklu na zemlji...).
dijalozi su nesnosno prepotentni, to prosto BOLI koliko je izveštačeno, a i delivery tih dijaloga je krajnje problematičan (kad film nije na ta 2 jezika kojima OK baratam to mi obično ne privuče pažnju osim ako nije katastrofalno: e, ovde mi je privuklo pažnju – to je takvo beživotno recitovanje da i onaj ko ne govori ruski može da vidi koliko to neprirodno zvuči).
'likovi' ne postoje, nema ni emocije ni drame ni napetosti – kakav crni rollecoaster, dosadniji film od zanimljivije premise odavno nisam video, čak sam negde oko polovine bio u iskušenju da ugasim, ali se primorah da izdržim – dakle, film prosto smrdi po debitantštini, kao neki nadrkani studentski film kome je neko dao grdne pare da iživljava svoju klinačku filozofiju i klinačko ejpovanje sličnih zapadnjačkih orgija pop-nihilizma (kounen je dobra referenca za viz. stil ali i za opšti ugođaj sveta filma, ovo je otprilike kao ruska, pijana, smorena, doooosaaaadnaaaa verzija DOBERMANA).

ukratko, meni je ovo *(*) (tj. 2-)

pa dobro, ti znaš da ja volim DOBERMANNa, s tim što ovo nije toliko dobar film. tako da ako bi krenuli od ljubavi za DOBERMANNa kao premise, onda bi tu negde i bilo jasno zašto nam se utisci o ovom flicku razlikuju.

no, da je debitantski u lošem smislu, jeste. i ja sam to naglasio kad sam pisao o njemu, prenatrpan je i predug, i tu se slažem. ali u svemu tome ima energije i loženja koje mi je sticajem okolnosti bilo appealing.

moguće je da je * * * / * * * * previsoka ocena za ovaj film, ali šta ću, ponela me je emocija. u svakom slučaju, ovaj film tehnički nije bolji od CHASERa, ni u jednom aspektu, ali što se mene tiče zanimljiviji je.

The Assassination Of Jesse James star Jeremy Renner put his life in his own hands while shooting war film The Hurt Locker in Amman, Jordan - because locals really thought he was the enemy.

The actor filmed near a Palestinian refugee camp and had to constantly look out for falling planks and thrown stones as he filmed the drama.

He explains, "There were two by fours with nails being dropped from two-story buildings that hit me in the helmet and they were throwing rocks. Most of them were just kids fooling around, but still.

"We got shot at a few times while we were filming. I can almost say I was in a war, but, to be honest, I was just some jerk-ass actor pretending I was in it. When you see it, you're gonna feel like you've been in war."

And Renner is glad the film looks great - because it was an awful experience: "I was miserable in 120-degree heat in a 150-pound bomb suit playing a soldier in an elite Army bomb squad.

"I'm like, 'This is awful!' And everyone was sick. It was terrible. It was a shoestring budget and we didn't even have guns or bullets. We had plastic guns and soft pellet guns. We had nothing.

"It was an $80 million (GBP40 million) movie that was made for $11 million (GBP5.5 million)."

DIRTY WAR Daniela Percivala je TV film koji sam očekivao sa nestrpljenjem. Reč je o korpodukciji HBO i BBC koja govori o mogućnosti da se u Londonu aktivira "prljava bomba", tj. eksplozivna naprava koja bi raspršila radioaktivne čestice i pored štetnopg uticaja na ljude, učinila određene delove grada neuslovnim za život u sledećih trideset godina.

Za razliku od STATE WITHIN, Percival i Mickery su u ovom TV filmu vrlo metodični, i na planu scenarija donose zaista vrlo jasan princip praćenja više likova suočenih sa ovom situacijom, sa povremenim iskliznućima u političku korektnost ili sentimentalnu melodramu koji umanjuju vrednost ovog TV filma ali su razumljivi. Naime, politička korektnost oličena u tome što postoje i Arapi pozitivci je potrebna kako prikaz povezanosti arapskih terorista ne bi učinio ovaj film rasističkim pamfletom. Očigledno je da bi čist, nerazvodnjen prikaz njihove organizacije u kojoj se nalaze i ljudi koji su rođeni i odrasli u Engleskoj generisao masovne nemire. Ipak, ti politički korektni ekscesi sa Arapaima pozitivcima su toliko očigledni da još više podvlače surovu istinu o njihovoj organizaciji.

Senetimentalni momenti pak su tu kako bi na emotivnom nivou dali neku vrstu smisla ostanku na mestu na kome bi mogla okinuti "prljava bomba" pošto film ostatak vremena pokazuje kako je u suštini nemoguće sprečiti tragediju tog tipa.

Sasvim je verovatno da bi emotivna uzdržanost dovela do toga da ovaj film bude nepodnošljiv publici. Činjenica je da se Haines nije ustezao kada je radio THREADS. Ali, isto tako THREADS je bio upozorenje šta bi se moglo desiti ako se poltičarai zaigraju, dok je DIRTY WAR priča o vrlo realnoj opasnosti.

Štaviše, kako se stvari budu komplikovale za Arape, ne sumnjam da će im i ovakv akcije padati na pamet. U tom smislu koliko je THREADS u suštini bio pamflet protiv nuklearnog rata, DIRTY WAR je gotovo praktični priručnikkako bi izgledao napad "prljavom bombom2.

Percivaj je odlično artikulisao kontrolisani dokumentarizam na nivou rediteljskog koncepta i DIRTY WAR je preteča Greengrassovog UNITED 93. Štaviše, sam Percival je optuživan kako je započeo žanf "post 911 filma katastrofe".

Na neki način, DIRTY WAR u svom jasnom angažmanu i vezamosti za temu, ima nešto od, uslovno rečeno jednodimenzionalnosti filma katastrofe s tim što je kod Percivala fokus na temu, a kod Irwna Allena isključivo na spektakl.

Zaista je fenomenalna reakcija BBCa na aktuelnost teme i spremnost da napravi ovako ambiciozan TV film koji u principu ne zaostaje za bioskopskim filmom, u tako kratkom roku u odnosu na događaje koji su ga inspirisali.

Pogledao sam jedan od najočekivanijih filmova godine STARSHIP TROOPERS 3: MARAUDER Ed Neumeiera.

Ja sam veliki fan prvog filma, kao i većina, pa se na njemu ne bih zadržavao. Meni je i drugi film bio sasvim prisrtojan, koliko ga se sećam, ali čim ga se ne sećam dovoljno nisam siguran da bih mogao da ga branim.

Treći film je u konceptualnom smislu bliži prvom, pošto za razliku od drugog koji je postavljen kao priča iz rata ljudi i buba, pokušava da sagleda ipak širu sliku rata i da bude politički angažovan.

Štaviše, u trećem filmu politika je znatno istaknutija od akcije, iz razumljivih razloga. Neumeier očigledno nije imao budžet, a ni veštinu da juri za prvim delom na planu akcije, međutim film je odlično scenaristički postavljen i akcioni deficit nadoknađuje odličnim političkim radom.

Zaplet sa bubama koje imaju svoje božanstvo koje pak zavodi ljude je briljantna kritika rata sa verskim fanaticima, i uopšte začuđujuće je koliko je Neumeier zaista pokušao da u okvirima onoga što može da snimi isporuči vredno delo.

Završnica filma je jedna od bezobraznijih koje sam gledao u poslednje vreme. MARAUDER u svakom slučaju dobija moju apsolutnu preporuku.

* * * / * * * *

Da, da, odličan film sa užasnim efektima... Da je CGI bio na nivou prvog dela, imali bismo film koji bi mogao ući u SF anale... Ovako... ST3:M i dalje ulazi u anale kao jedan od najboljih D2DVD nastavaka svih vremena, ali i kao propuštena šansa. U Hollywoody su se milioni i milioni dolara bacaju na razne gluposti --- producenti su zaista mogli da podrže ovaj film sa značajnijom količinom $.

Bravo za scenaristu/režisera i glumce. Odličan posao!

Cripple danas odlazi na Krit.

Molim vas da mi čuvate Srbiju.

Dragi naši,

Crip i mrkoye su stigli u mesto sugestivnog naziva Amudara pored Herakliona. Naši doživljaji na ovom mestu u prva dva dana imaju u sebi mnogo toga sagitaškog.

Hotel u koji smo smešteni primer je najneverovatnijeg false advertisinga ikada pokušanog. Dok sama zgrada hotela spolja deluje relativno inviting, unutrašnjost a naročito sobe imaju niz bizarnih detalja. Recimo, kreveti i nahtkasne su zidani od čvrstog materijala ma koliko to bizarno zvučalo. mrkoye kao stari scholar kaže da je Odisej imao krevet od maslinovog drveta koje je raslo u sred njegove kuće. Uostalom, mikenska civilizacija potiče sa Krita no nismo očekivali da je u ovoj meri očuvana u našem hotelu.

Kad je reč o samom Kritu, dovoljno je reći da ostrvo ima oko milijun stanovnika u sezoni, a da je uređeno kao klišetiziran prikaz neke banana republike. Čačak deluje kao Štokholm u odnosu na Heraklion, glavni grad Krita i četvrti najveći grad u Grčkoj.

Kod neke rospije koja je neprikriveno želela mrkoyevo telo, iznajmili smo Daewoo Matiz, automobil iz filmova Chan Wook Parka. Ovaj automobil se ponaša kao igračkica u mrkoyevim sigurnim rukama, izvežbanim vožejem ogromnog čeličnog švedskog mamojebača, a što je još važnije, mali auto nam omogućuje da se snađemo u vrlo hectic kritskom saobraćaju. Cene iznajmljivanja kola su naizgled skromne, međutim kada se dodaju svi porezi, osiguranja i sl. Matiz nas je izašao oko 400 evra za 11 dana. Da se mrkoye malo angažovao možda bismo bolje prošli.

Prvo veče smo overili tri mesta. Prvo je kafe bioskopa Technopolis. Ušli smo u Technopolis misleći da je to neko mesto za rejv, međutim, ispostavilo se da je to amudarski Tuckwood. Potom smo bili u heraklionskom klubu Big Fish na nekoj obscenoj Playboy Playmate žurci gde su cene pića bile apsurdno visoke imajući u vidu stupanj našeg alkoholizma, i možemo reći da ako je to najjači klub na Kritu, hm, izuzev vrlo posh dizajna nije ništa posebno. Muziku puštaju DJevi ali se u suštini bazira na nekom remiksovanom popu. Ipak, potom smo overili jedan jako fin klub koji se zove Why, u kome je bilo r'n'b veče. Mislim da Son of Man i Mehmet moraju da znaju da smo dostojno rprzntovali BG. Na top listi unete obuće, Crip je zauzeo prvo mesto sa svojim limited edition Scarface Nikeama, dok je mrkoye bio na visokom šestom mestu u svojim Adidas Superstar II. Ipak, kritski reperi su cool, debeli su i totalno su dizajnirani. U Why smo se fino proveli i Crip se napio kao malo prase, što i jeste.

Cene alkohola su obscene. Sol u Techonopolisu košta 5,5 evra, a točeno u Big Fishu je isto toliko. To je verovatno okej za ljude koji nisu zveri kao mrkoye i ja, ali plašim se da ćemo do kraja letovanja ostaviti sve pare koje smo poneli po kafanama.

U našem hotelu smo mrkoye i ja, jedina dva denotativno singl momka, i locirali smo barem četiri slovačke maloletnice vredne pažnje. S jedne strane, problem je u tome što su sa njima stalno njihovi roditelji a sa druge to što kada pogledaju u našem pravcu nalaze šokantan prizor Cripa u kupaćem kostimu. Obaveštavaćemo vas o daljem razvoju našeg plana da im se mrkoye zahvali na čvrstom stavu o nepriznavanju Kosmeta.

Ja već merkam klupu na kojoj ću spavati dok njihova delegacija u našoj sobi bude primala mrkoya.

E sad, šta je sagitaški u svemu ovome? Pa recimo to da od jutros nismo VIDELI NIJEDNOG OD ZEMLJAKA koji su doputovali sa nama. mrkoye misli da su ti ljudi uspeli da verbalizuju svoj utisak o hotelu i da ih je agencija premestila na neko bolje mesto. Zauvek. Dočim smo nas dvojica propustili redovni sastanak sa vodičkinjom jer smo u to vreme već počeli da se opijamo tako da smo sada off the grid.

Drugi Sagitaški momenat smo imali kada se mrkoye žalio na recepciji da je izgubio peškir na bazenu, da bi recepcionerka lakonski konstatovala da ga je izgubio ,,Tomorrow morning"... Hm, dickovski momenat. Inače, Grci vas prosto teraju da progovorite broken English.

   

Izdržite još jedan dan, šaljem vam Sunčicu u pomoć sutra. Sa sestrom!!!

Khm... znači, prazna ti je gajba?  

Pa... ako ne računaš mene, dve i po mačke i mrtvu kurvu pod krevetom, da, prazna je.

Znaju moj fon, ako su blizu Herakliona, nek se jave. mrkoye i ja cemo ih zagovarati dok ti i DusMan raspremate stan...

Ma, navikla je Sunčica na leševe prostitutki pod krevetom. I u ormanu. I u kadi. I u špajzu. Problem je što će me mrzeti da usisavam mačije dlake sa meblštofa...

Disney Pictures has picked up Adam Jay Epstein and Andrew Jacobson's action-adventure pitch "The Transplants" for Stars Road Entertainment.

Sam Raimi will produce the ensemble superhero story with a comedic bent which will cater to all audiences.

Further plot details are unknown. Epstein and Jacobson are best known for spoof comedy "Not Another Teen Movie".

... opiči se basket da bi ispali gotivci...  

Meni je ova fotka potpuna esencija.  

....na BLICovom sajtu ima jedna more kinky, na kojoj Boris vrši pozadinski pressing, a Ivica je nagnutiji no ovde, a sa izrazom bola, sladostrašća i trpljenja u ime ljubavi ili viših interesa na licu, prosto u pamet zaziva Brusa La Berusa ili nekog sličnog...

....nažalost, fotka se ne da iskopirati kako treba.... ili ja ne vidim način...

POMIRENJE
TADIĆ je rekao da bi korak ka uspostavljanju stabilnosti u državi bio usvajanje deklaracije o nacionalnom pomirenju koju bi potpisale sve stranke.
- Uskoro bi trebalo da bude potpisana deklaracija o političkom pomirenju DS i SPS, iako je do tog pomirenja već došlo kroz rad u zajedničkoj vladi. Basket koji smo igrali ne predstavlja pomirenje već takmičarski nagon - rekao je predsednik povodom utakmice "jedan na jedan" sa Ivicom Dačićem.

Quote from: "ginger toxiqo 2 gafotas"....nažalost, fotka se ne da iskopirati kako treba.... ili ja ne vidim način...

Sačuvaj je na hard, pa okači na www.imageshack.us

... tako sam i kanio, ali u tome je začkoljica - ne da se sačuvati na hardu, ali obećavam da ću pokušavati i dalje.... do pobede.... uhvatio me NAGON, masda nešto drugačiji od ovog borisasto-ivičastog...

Daj onda link do te stranice. To valjda može?