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

Ma film je verovatno sranje....

Koji k.... se zamajavate se tim glupavim filmicima....

OK, evo je dijagnoza...

prequel je prilican krpez, pre svega scenaristicki. premisa i lokacija su slabi a ni najpotentniji elementi premise nisu iskorisceni. relativno svedena prica je relativizovana pokusajima da se gledaoci prenu obrtom.

poredjenje sa Friedkinovim originalom cak i nije potrebno da bi se osetila promasenost ovog projekta.

Harlinova rezija je kompetentna, sa samo dve harlinovske scene. sve ostalo je vrlo dobar bioskop u kome Harlin pruiza priliku prici. prica propusta tu priliku.

dok je u prva dva cina, prica bolno konvencionalna, treci cin je malo agresivniji ali je vise neotesan nego sto je zaista efektan. egzorcizam je potpuno neutemeljen, i nasilno pokusava da udahne zivot u film koji ne samo da je izdahnuo vec se cini da ova scena unosi zivot kroz pogresan otvor mrtvog filma...

u sustini, prequel ima dosta price oko sebe ali nijednu u sebi...

A toliko ste se pržili.

Skoro da mi žao.

Ali, da se ne rasplinjem. Dakle: DVD. The Dividi. Kad ga izdadu. Će da vidite kako matori roka.

Zna li neko kad otprilike izlazi ta druga verzija na DVDu?

polako, omladino, pogledajte prvo kako je Renny uradio...

ima dana za Schradera... plasim se da njegov film zaista nije gledljiv cim je ovaj prikazan umesto njega. naime, najavljeno je da su price oba filma gotovo identicne a da ga je Schrader samo neuspelije obdelavao u film. cim su preudzeli da snime novi film, znaci da je stvar zabrinjavajuca...

od Schradera se uvek nadam najboljem ali poslednjih decenija, izuzev AUTO FOCUSa uvek dobijam najgore...

Ih, pa kad sam ja to propustio neki Harlinov film...    Nego, oko Sredera, on jeste posle Light Sleeper, koji je sto se mene tice remek-delo, krenuo nizbrdo, ali se ipak iskupio sa Bringing Out the Dead...

I, ajde reci, jesu li te CGI hijene zaista toliko grozno neuverljive kao sto svi ostali tvrde?

nisam ni ocekivao da budu prave hijene u filmu. stoga, mislim da su podnosljive ako ne bas i ekspresivne, buduci da je rec o nocnoj sceni...

BTW, mislim da je LIGHT SLEEPER solidan film, ali ni po cemu nije korak napred za Schradera i moze se posmatrati kao njegov solisdan maniristicki film. kad je rec o BRINGING OUT THE DEAD, tu je nesumnjivo vazan Martyjev uticaj. a Marty je jedan od mojih omiljenih reditelja...naime, Schrader je UVEK zanimljiv kao scenarista, ali najveci problem ima kao reditelj. stoga, razocaravaju filmovi prepusteni na milost i nemilost samom Schraderu...

pogledao sam L'EXORCISTE: LA COMMENCEMENT;
ništa to ne valja: izlišno, usiljeno, nategnuto, isprazno, besmisleno... zbrzano i otaljano u svakom smislu – film bukvalno izmišljen ni iz čega i ni zbog čega (sem da gubitke glupog producenta bar malkice približi pozitivnoj nuli) – apsolutno redundantna tvorevina - hacksteraj na kub – šićardžijsko ništaštvo---
3-4 OK 'gore' scene su jedini izgovor za izgovor za traćenje vremena na ovo;

čak i ako se ispostavi da je Šrederova verzija takođe slaba, bar verujem da je slaba na način iskrenog ali loše proračunatog filma; ovo je loše na način najprizemnije holivudske bezdušne exploatacije i vređanja IQ-a publike

Pogledo sam ga cinemaniji, ostavio mi je nesto utiska,dobar ambijent u onoj crkvi,onaj ritual sa vracevima kod klinca je toliko dobro odradjen kadrovski,barem da su koristili na kraju filma,cgi efekti djavola koji se prentra po zidovima su nepotebni,nema zestokog sukoba na kraju.Vise mi lici na arheoloski film,ali ipak sam nesto uzivao u bioskopu.

Evo sa zakšnjenjem da se donekle složim sa Warlockom. Da se složim da film u bioskopu prodje sasvim bezbolno, a na momente čak i zanimljivo. Naravno, isključivo ako ste benigni hroror fan i udjete u bioskop očekujući jedno ništa.

Dobro, meni je na ruku išlo i to što sam dan pre toga gledao Bornovu nadmoć (šteta što neki bolji film nisam gledao sa još samo dvoje ljudi u sali), što je film u kome nema BAŠ NIŠTA da se vidi. Zato sam Egzorcista popio kao ledenu bozu na plus 40.

Mislim, ruku na srce, ne može se ozbiljno pristupiti ovom filmu, ali ako ispunjavate navedene uslove, nećete zažaliti para za kartu. Mrzi me sada da pišem šta mi se sve svidelo, samo ako nekog bude zanimalo.

A ne slažem se sa warlockom oko hodanja po zidu - to mi je bilo strava.

E, da. Ima čak nekoliko simpatičnih "subliminalnih" poruka i fora.

Sada ni u Bornovoj Nadmoci nema BAS NISTA da se vidi, a?
 
     Lurde, ti si moj idol.

     Zbilja.

     Bas sam, inace, jutros vidio forspan za WEST SIDE STORY i, casna rijec, prvi si mi TI pao na pamet, for real. (Nije da pljujem po Vajzu, jednom od najpotcjenjenijih superiornih reditelja na planeti, medjutim, TAJ mu film zbilja nije trebao u opusu. U stvari, mozda i jeste, posto mislim da nema zanra u kome doticni nije pokazao svoju ekspertizu.)

Okaj, ono što mene zanima i ono što je moglo - jok. Ni akcije, ni trilera, ni pravog zapleta, ni riba, ni romanse, ni lepih pejzaža pošto Born putuje. Ništa, umal nisam zaspao. A snimanje cele akcione scene iz ruke treba zabraniti.

I lepo ovo za Priču, to mi je kompliment.

Shvatam tvoj hendikep, vjeruj mi toliko. Dobro parce vizuelnog korteksa jednostavno obamre nakon osamnaeste. Ni moja malenkost nije unikatna po tome pitanju. Recimo, ja nikada nisam citao Martina.

Avaj.

Bolesti s kojima moramo da se nosimo.

(Premda si mi zaista pao na pamet nakon forspana za onaj baletanski film. I drago mi sto sam onda i dalje nekako ostao u jednom komadu.)

vizuelni korteks.
obamre.
wow.

Bejbi, tvoja persona gratissima bi samo da se krvi, a ja ne mogu da pojasnim koliko si ti superica cura uprkos tolikoj neukrotivoj energiji na kojoj bi ti pozavidio dobar broj amazonki i ociglednom nedostatku osmijeha o kome sanjaju sve recentne udovice. S druge strane, ne poricem da nisam jebeni degen (sto se vidi iz moga posljednjeg posta, odlicno si primijetila, imas sve congrats-e), pa ti svoju bezgranicnu ljubav, u akutnom nedostatku icega inteligentnijeg i odvec inspirisan tobom, jedino mogu izjaviti putem para viceva o zamamno neprilagodjenim damama. Volio bih da te oni barem na trenutak katapultiraju iz toga vjecitog militantnog stanja. Uglavnom izvini sto si jos uvijek ljuta na mene. Draze bi mi bilo da nije tako.  

(U svakom slucaju, misljenja sam da spomenute sale bezmalo savrseno idu uz poprilicno realnu dijagnozu svekolike rezije Renija Harlina koji najposlije - nadam se - ima makar neke konstruktivne veze sa ovim topicom: komicne su.)    


   A 47 year-old lady gets a facelift. It turns out very well and she enjoys showing off her new look. She goes to the newsstand and asks the man, ''Sir, how old do you think I am?'' The man replies ''You're 30, right?'' She says ''No, I'm 47, but nice try.''
   The next day, she goes to McDonald's. She orders her lunch and asks the young man at the counter, ''How old do you think I am?''  The man replies, ''You're 37, right?'' The lady says ''No, I'm 47, but good guess.''
   After lunch, she gets on the bus and she asks an 85-year-old man how old she is. He replies ''Lady, I can tell how old any woman is by sticking my hand down her panties.''
   So, quietly and quickly, she lets him do so. He thinks a moment and announces, ''You're 47!'' The lady, astonished, asks, ''How did you know?''
   The old man replies ''I was standing right behind you at McDonald's.''


   There was a woman and her husband, Mr. and Mrs. Harlin. They were happily married except for the fact that Mr. Harlin never gave his wife any money.
   One day, a friend of Mr. Harlin comes over while the wife was taking a shower. He rings the doorbell and the wife comes out, wrapped in a towel. He asks, "Is your husband home?"
   She answers, "No, but he'll back in about 30 minutes. You can stay and wait for him if you want." The friend agrees and enters the house.
   As the wife is about to enter the bedroom the friend says, "If you flash me I'll give you a hundred dollars."
   The wife thinks about it, and decides that she does need some money of her own. So she agrees and flashes him. She was about to leave the room when he says, "If you model nude for me until your husband gets home, I'll give you two hundred dollars." She thinks about it and agrees. A couple of minutes later he says, "If you have sex with me, I'll give you six hundred dollars." She thinks about it and agrees.
   After the sex, he leaves, saying he had other business to get to. She thinks happily about the six hundred dollars and what she would do with it. Her husband, Renny, comes home and she says, "Honey, your friend came over today."
   Renny replies, "Oh? Did he have the six hundred dollars he owed me?"


A blonde walks into a doctor's office. She gets in the room with the doctor and says, "Doc, I hurt all over." The doctor is really confused. He says, "What do you mean, you hurt all over?" The blonde says, "I'll show you."
She then touches herself on her leg. "OW!!! I hurt there." Then she touches her earlobe. "OW!!!!!! I hurt there too!" Then she touches her hair. "OW!!!!! EVEN MY HAIR HURTS!" So the doctor sits back and thinks on it for 5 min. Then he says, "Tell me, is blonde your natural hair color?" The blonde says "Yes, why?"
The doctor says, "Well, you got a broken finger there, lady..."

Eto. Eto sto ti je knjizevnik.

Ok. Ajde da bar ja ne budem.

Tripe, ja shvatam da ovo moje bockanje iritira. Ali kao, ajde da ti objasnim; nije da sam nesto ljuta ili kivna na tebe. Zaista nije.
Veovao ti ili ne, ja ove topike citam. Ja nisam filmofil i verovatno nikada necu da budem. Ali stvarno gotivim ljude koji su filmofili i gotivim kada o filmovima pricaju. I citam sve i svakoga, redom, od Dzekdenijelsa i Komija pa do Ghoula i tebe. I svega tu bude, ljudi se naljute i podzapaju pa razmene kojekakve teske reci. Ali niko, NIKO od njih nije toliko udavljen u ambise morbidne samozaljubljenosti poput tebe! Niko od njih ne oseca tu nesuvislu potrebu da davi i gnjavi overlodom trivijalne, beskorisne informacije koja nikakvu svrhu pod kapom nebeskom nema no da impresionira! Pa izvini me smesta sto nisam impresionirana, Tripe! Izvini me sto bih ja radje da mi kazes rec-dve o samom filmu a ne o obamrlim delovima tvoje nesumnjivo impresivne fizionomije!

Ja gotivim da citam tvoje topike. Nikada ti nisam razbucala niti jedan suvisli post, Tripe! Razbucam te samo onda kada krenes da opovrgavas taj samozvani knjizevnicki status pateticnim, javnim, in-your- face nametljivim postovima na kojima bi ti pozavidela jedna Mica Trofrtaljka!

Da si iole knjizevnik, Tripe, garant se ne bi spustio u ovu blesavu situaciju da ti ja, ja od svih ljudi, sa punim moralnim pravom kazem da si prilicno prizeman covek.

Konacno sam raskrinkan.

Tvoj sarkazam na stranu, ovo je ipak podesno mesto da priznam kako jesam bila zlonamerna. Mislim, da nije bilo ono što je bilo, verovatno ne bih tako pedantno jurila tvoje omaške. Ali opet, da nije bilo ono što je bilo, možda ni ti ne bi bio svestan lakoće sa kojom čovek izgubi kontrolu u ovakvoj vrsti komunikacije.
Ko zna, možda pod nekim srećnijim okolnostima komunikacija između nas dvoje ne bi bila svedena na malicioznu razmenu. Ako ti sada priznam da sam svesna svog dela krivice, možda tebi pođe za rukom da bajgoniraš moje očigledne karakterne mane. Tim više što slutim da nisam baš unikatna, čak ni po tom pitanju.

U svakom slučaju, priznajem da sam te provocirala. Izvini.

Quote from: "libeat"U svakom slučaju, priznajem da sam te provocirala. Izvini.

UA!
fuj bre, pa kakva je ovo svadja? jos nije ni pocelo a ono...?

trippe, neces valjda da prihvatis ovako bedno izvinjenje?
[ja bih, istina, ali to je samo zato sto je libeat obozavateljka mojih pisanija]

Libeat, pobrkala si me sa nekim ko se mnogo sjekira. Btw, uopste se nisam osjetio isprovociranim. Samo nastavi. Mozda cu se sutra hvaliti (svojim potomcima) da me je nekada redovno na zemlju spustala nova Ema Goldman.

Paul Schrader: Exorcising his demons
As his prequel to The Exorcist finally premieres in Brussels, Paul Schrader talks to James Drew about an unlikely resurrection
Published : 11 March 2005

Next week Paul Schrader will introduce an unexpected world premiere at the Brussels International Fest-ival of Fantastic Film: the director's cut of the prequel to The Exorcist. The film was notoriously abandoned by its studio on delivery and virtually re-shot by a new director. But Schrader is adamant that his hiring (and firing) was based more on a head-of-studio's whims than artistic problems with his project.
In late 2003, US studio Morgan Creek was under pressure to replace John Frankenheimer at the helm of the long-waited prequel to The Exorcist. The seriously ill director stepped down a month before his death, so Schrader, who hadn't touched horror since his 1982 remake of Jacques Tourneur's Cat People (1942), was under immediate pressure to get his cut in ahead of time and on budget. He duly delivered - only to have his vision nixed by boss James Robinson. After a re-shoot by Renny Harlin, Exorcist: The Beginning was released to underwhelming critical response but reasonable box-office success in late 2004.
The prequel deals with the earlier encounter of Father Lancaster Merrin (the titular exorcist from William Friedkin's 1973 genre-defining film, played first by Max von Sydow and now by Stellan Skarsgard) with a diabolical entity - a preparatory battleground for the terrors he will face 30 years later.
Schrader explains his decision to sign up: "I was more attracted to the The Exorcist's mythos rather than wanting to duplicate its shocks. I am a big fan of Friedkin's original and its metaphorical purity. That's why my story has an old-fashioned feel - it's set in the 1940s, and I hope it feels like that. It's leisurely - it's not done in the current, hyper- kinetic horror style. It's much more focused on Father Merrin's personal situation."
While Schrader had fun putting the picture together ("I really enjoyed working with Stellan Skarsgard and the rest of the cast"), the story did not have a happy ending. With several explanations doing the rounds, ranging from the studio insisting the film did not have "enough bloody violence" to the old chestnut, "creative differences", Schrader sets the record straight.
"Morgan Creek is one man - it's a one-man operation, it's James Robinson. If he decides something, that's it - everything comes out of his pocket, so I think that somewhere in the shooting, he started to change his mind about having made this film, and he started to feel that he was making the wrong movie."
This turnabout was in spite of the fact that Schrader had been completely open about the kind of film he wanted before and during the production - a departure from the overt body-horror aspects of the first film, but a vision rich in psychological nuance.
"That's why I call it buyer's remorse," Schrader says. "You know, like, he went out and bought a Lexus and came home and said, 'I really shouldn't have bought that,' so then he goes back out and buys a Hunter - now he has a Lexus and a Hunter. I think that, by the time I had finished - and there was a lot of pressure on me to deliver my first cut very, very quickly - I think that he was already moving on in his mind to another film.
"What he didn't know was how much he was going to re-shoot - it just got bigger and bigger until virtually all of it had been redone. The problem was that the core of the idea, which was there before I came, and which I liked, is not designed for hard-core horror, despite its diabolical and disturbing elements. Essentially, you have an afflicted boy, an outcast who is possessed, and, as his possession deepens, he gets better, until finally he is perfected and glorified as Lucifer incarnate. A poor crippled boy, getting better - not very useful for hardcore horror, which usually turns on an innocent being tormented, as in the first Exorcist. Here, the concept was turned on its head. I did not want to wrench hard-core horror from it, because the concept really wasn't suitable. Jim came to realise, I think, that the problem for him lay with the premise. But once you change the premise and the director, you have a new movie."
So, does he have an opinion on Renny Harlin's final version? "Well, you have to have a kind of ironic world view, if you are going to survive in a business such as this, otherwise it's just a life of grinding pain. I went to Washington DC, with [Exorcist author and Exorcist III director] William Peter Blatty, and we saw Renny's film together. Blatty had also made his film for Morgan Creek, and Robinson had taken its creative direction away from him [the insertion of a blood-and-thunder exorcism, among other, erm, 'narrative tweaks']. Well, he was sitting there in the theatre, getting much more angry than I was, remembering all the things he went through. Everything is now so driven by CGI and gore, rather than suspense and storytelling. And so, it makes it kind of hard to get a good suspenseful story going, because you are competing with people who are throwing heavy metal instruments at the viewer from the moment the movie starts."
But Schrader is still (reasonably) graceful about the whole damn thing. "There wasn't a big fight when I left. I spoke to Jim Robinson for all of five minutes after I delivered the film to him - and I wanted to take some time out and show it to him again. But he didn't show up for the next screening, and then he fired the editor, and, shortly after, he fired me." He laughs ruefully. "Er, let's just say that Jim Robinson's reputation precedes him."
So how did Schrader manage to persuade Morgan Creek to part with his director's cut footage? "They had extremely ambivalent feelings about it. They wanted to make some money. But obviously, they take the risk that, the better people think of my film, the worse they look. So, its obviously an extremely difficult situation for them. They gave me the money to finish the film on the cheap, so that there would be a DVD. And, I was trying to work out a way, to give it a theatrical life as well."
It's a coup for Belgium's Festival of Fantastic Film - Schrader contacted the festival organisers, thinking that it would be a better showcase for the film to be the biggest movie in a smaller festival "than just another film in a big festival". Solidarity will also be on display - the director will be accompanied at the premiere by cast and crew members of the film, and Stellan Skarsgard will also be sending a message of support. As a result, Dutch Filmworks has agreed to give the film a Benelux release - so it is on Belgian soil that the first verdict will be delivered. "Its theatrical fate awaits Brussels," says Schrader.
For a man whose parents, apocryphally, didn't let him see a film until he was 18 years old, Schrader's movie career hit pay-dirt early. He and his brother Leonard (an expert on Japanese culture) co-scripted Sydney Pollack's The Yakuza (1975), before Martin Scorsese took Taxi Driver (1976), which Schrader wrote during a bout of drink and depression. With the help of Robert De Niro as Travis Bickle, the "nobody dreaming of being somebody", it made cinema history.
Taxi Driver's success gave Schrader enough financial freedom to start directing (as well as writing) his own films, includingAmerican Gigolo (1980) and the Japanese co-production Mishima: A Life In Four Chapters (1985) - Schrader's personal favourite.
But Raging Bull , made in 1980 by Martin Scorcese, is without doubt Schrader's finest hour. This is a script that screams brilliance, and combined with De Niro's powerhouse performance, it has ensured the movie's inclusion in most critics' 10 best films lists ever since.
His original prequel to The Exorcist seems very much in keeping with his own tradition - the descent into hell of men who allow their worlds to crumble. "What fascinates me are people who want to be one thing," says Schrader, "but who behave in a way contradictory to that. Who might say, 'I want to be happy, but I keep doing things that make me unhappy.'"
Will the release of The Exorcist prequel make Paul Schrader happy, one wonders? One can but hope, if only to quash those hoary old "curse of The Exorcist" yarns, that it doesn't have the devil of a time with its first audience.

Paul Schrader's 'Exorcist: The Original Prequel' is at Auditorium Passage 44, 44 Boulevard du Jardin Botanique, Brussels, Belgium 8pm, 18 March

LELEEE!
Totalno saranjivanje – srpski rečeno, shredding of schrader!

Moji najcrnji strahovi i 'nije-valjda'-slutnje ovaploćeni su u ovom rivjuu:

BLOODY DISGUSTING

ZERO out of Five Skulls

Hear that "clunk"? That's the sound of the bar hitting the floor.

In a shocking display of poor judgment (and an apparent attempt to dispute the whole "hindsight is 20/20" thing), the folks who nixed Paul Schrader's prequel to the "Exorcist" and had Renny Harlin do it over have decided to show us all exactly what it was that turned their stomachs in the first place. In doing so, they have provided us with both an insight into the business of filmmaking heretofore unavailable to civilians (generally, what's buried stays buried and poor choices are not put up for public scrutiny) and one of the most flat-out ridiculous films to hit screens this year. And while part of me (the fun part) wants to recommend "Dominion: A Prequel to the Exorcist" purely for camp value, the responsible part just can't let that happen.

But before I get too deep into it, let me say one thing: this film is screamingly funny. From the annoying, persistent music to the over-earnest acting to the hilariously bad special effects, just about every element is off-key, and the cumulative effect is staggering – think "Showgirls" with a demon possession (and Elizabeth Berkeley's dancing doesn't count). After the somber and fairly well-executed opening, "Dominion" goes completely off the deep end, sending the well-intentioned cast for a clumsy tumble down a steep slope of atrocious choices. I've never seen so many actors look legitimately embarrassed to be on screen – even the extras look like they know they're flirting with career suicide. But honestly – this could be a fun movie in its own right, simply because every single scene is so monumentally ill-conceived and executed that it is impossible not to marvel at its freakishness. I had a great time, to be perfectly honest – but then again, I rubberneck at car accidents and enjoy "Craft Corner Death Match".

So the basic story is this: Father Merrin (Stellan Skarsgard) has run away from the church following a faith-challenging experience at the hands of the Nazis during the occupation of his town. He's been working on archeological digs in Africa, and on his current project has been assigned missionary Father Francis (Gabriel Mann) to help out and keep an eye on him. We also have Major Granville (Julian Wadham), a starched British Military officer who's for some reason oddly concerned with Merrin's behavior. When on a dig in the desert, Merrin and his army of native workers uncover an entire church that appears to have been buried intentionally almost immediately following construction. Further investigation reveals that it seems to have been built to keep something down, as evidenced by the giant statues of angels with down-pointed spears and artwork depicting Lucifer's fall from grace. Minimal exploration reveals a staircase leading down to a subterranean demonic temple, which is just about the stupidest thing I've ever seen in my life (the fact that these people went to the trouble of building a giant stone church over a temple and then burying the entire mess to trap a demon without even bothering to lock the door to the underground lair is simply staggering). Rather than risk potential looting of the temple by the locals, Francis calls in Granville and his goons as guards... who then proceed to loot the temple themselves (or at least try to).

Meanwhile a local cripple, Cheche (international pop sensation Billy Crawford – no, seriously...), has been hanging around the dig and getting beat up by the locals, who think that he is cursed. Sure enough, Cheche has some sort of breakdown and is placed under the care of Rachel, the local doctor (Clara Bellar), who clearly does not have the soft skills required to care for a possessed person, despite being perfectly adept at wrapping a bandage. Cheche twitches a lot and becomes noticeably less cripple-y (his leg is reset and heals at an accelerated rate; his palsied arm straightens itself; his make-up artist finds a more flattering shade of foundation), which will no doubt confuse fans of the other "Exorcist" films: isn't being possessed by Pazuzu supposed to be a bit hard on your system? Just look at what happened to that poor little girl in the original. Here, Cheche essentially goes through a demon-fueled Extreme Makeover, and winds up not covered in green vomit with the mouth of a trucker, but rather bathed in gold glitter and wearing a diaper.

I'm not kidding.

The climactic faceoff between Marrin and Cheche literally involves a suddenly hairless and satin-skinned Cheche floating on air and languishing around the temple like a cabana boy on his lunch break – I seriously thought I was watching outtakes from "Stargate". Now, I totally get that they were going for something different here in trying to make the devil seem seductive rather than destructive – it sounds great as a concept, but it just isn't cinematic. A good deal of the power of the first film came from the visceral suckerpunches that the demon threw poor young Regan – here there's no sense of urgency, danger, or anything even remotely resembling suspense. There's just a hairless pop singer in body makeup looking like some sort of escaped Cirque de Soleil dancer on a hell of an ecstasy bender.

And really, folks – this is just the tip of the iceberg. Literally everything about this film is a mistake, and even the strong points (like Starsgard's solid performance) feel like tragic missteps by association. The CGI is easily the worst I've ever seen in a film of this size (if you thought the hyenas in "Exorcist: The Beginning" were bad, you ain't seen nothin' yet – and these just stand still!). There's a bit near the end when the sky suddenly lights up with lasers as if a spaceship were landing (which would actually have been a welcome diversion), and stays that way for a good 10 minutes – it's jaw-dropping. And the film looks just awful, I'm sorry to say (I won't hold this against Vittorio Storaro, who has lensed some of the most beautiful films ever made – I really don't think he had much to work with); the entire movie is shot in medium close-ups, with little or no attention paid to the surroundings or landscape. The result looks more like a made-for-Sci-Fi-Channel soundstage cheapie than a feature film, and is completely lacking in atmosphere. Any real discussion of the issues at hand (the presence of evil in all men, the loss of faith) is undermined by the stagey direction and silly setpieces, and honestly, it's nothing that hasn't been done before and much more effectively. The claims that this is a more "intellectual" or "mature" horror film are preposterous -- there's more intellectual material in an installation of "A Nightmare on Elm Street", and you might actually get scared once or twice to boot.

I could go on and on, lingering on Rachel's big climactic scene (a mascara freak-out on par with Drew Barrymore's in "Mad Love") or the well-intentioned but embarrassing performance of Gabriel Mann, whose scenes with the village children and Cheche are downright hilarious. Even the dollops of gore (a crucifixion, a beheading, a shocking yet hilarious maggot-covered stillborn) are so poorly delivered that they're more like spoofs of disturbing images than the real thing, and the "surreal" dream sequences are flat-out pretentious. The bottom line: Schrader has no concept of what a horror or suspense film is all about, so instead of wonder, chills, and existential dread, we get hammy dialogue delivered on leftover sets from "The Scorpion King". And nothing against the man – I loved "Auto Focus" and "The Comfort of Strangers". But here Schrader is a square peg in a round franchise, and the results suffer from the mismatch.

But I'll stop now and say this – I will most likely go back to see "Dominion" again, purely for laughs. Unlike the last misfire of this magnitude – "The Phantom of the Opera" – "Dominion" is actually quite entertaining in its hideousness (whereas "Phantom" was just plain intolerable). I seriously wouldn't be surprised to see theatres screening this stinker at midnight for years to come – maybe on a double-bill with "Exorcist II: The Heretic", which was up to this point the most hilariously misguided film of the series. And really – how often does a studio pick open one of its own scabs and let you look at what's underneath? If you're the kind of person who can't help peeking, you won't be disappointed.
Reviewed by: Brian Buzz Juergens

       

Ljudi, Renny je ipak tata...

Quote from: "crippled_avenger"Ljudi, Renny je ipak tata...

pa šta?

zar šreder nema decu?

Hmm... Pa, mozda i nije bas sve tako crno kako ispada na osnovu te jedne kritike koju je Ghoul postovao. Naime, prosecna ocena na IMDB-u se krece oko visokih 7.0 (ali na osnovu vrlo malo glasova, istina), a tu je i umereno pozitivna kritika sa FANGORIE:


While the final STAR WARS movie dominates theaters nationwide, another cinematic drama in which the players struggle with and succumb to the dark side is playing out on significantly fewer screens. I'm not just talking about how Father Lankester Merrin (Stellan Skarsgård) wrestles with his faith and Satan in DOMINION: PREQUEL TO THE EXORCIST, but the fact that, as most fans know, Morgan Creek rejected his version of this project and replaced it with Renny Harlin's crasser EXORCIST: THE BEGINNING (reviewed here). Schrader's movie is finally getting big-screen exposure with a limited break more befitting an art film—which, truth be told, is appropriate. While DOMINION has a great deal more integrity than BEGINNING, it's also not hard to see why Morgan Creek rejected it for wide summer release.

That has less to do with Schrader's achievements or lack thereof than with the basic nature of the material. In both versions, the focus is on Merrin's spiritual crisis, his turning away from God and his eventual reclamation of his spiritual values when he is forced to confront evil. Heady stuff, which is part of the challenge for a filmmaker, as it's the sort of interior drama better served by the written word than a feature film. (It's no surprise that DOMINION's final screenwriter was a novelist, THE ALIENIST's Caleb Carr.) BEGINNING tried to compensate by throwing in gratuitous shock tactics that became more ludicrous than scary; Schrader keeps the focus personal, and thus DOMINION is more successful as a drama than a horror film.

The action remains centered in British East Africa in the late 1940s, where Merrin flees after a horrible encounter with the Nazis during WWII. One of the key differences between Schrader's film and Harlin's is that the latter tried unsuccessfully to amp up the drama by keeping this incident mysterious, presenting it only in flashbacks. Schrader, correctly believing that knowing of it is crucial to understanding Merrin's character from the beginning, makes it the opening scene, and it does have impact, albeit undercut by the weak performance of the actor playing a Nazi official. Merrin ends up in a small desert village working as an archaeologist, where he discovers an ancient Christian church buried beneath the sands. Further digging reveals that it was actually intended as a sort of stopgap for a house of Satanic worship beneath it, and it's not long before the devil has emerged to take possession of a local boy.

Another important distinction between the two prequels is the identity of the possessee. In the Harlin film, he's a young boy—or at least we think he is, until a badly misconceived twist ending. That child falls victim to another, more shocking fate grounded in real-world violence in Schrader's movie, which instead casts the afflicted as a physically crippled adolescent. One of Schrader and writers Carr and William Wisher's most intriguing inspirations is that Cheche (Billy Crawford) actually seems to get "better" as the demonic influence takes hold, his twisted limbs straightening and his features achieving a serene beauty. In the visual medium of film, though, that idea is better for irony than scares, and when Cheche starts speaking in an altered voice, blaspheming and taunting Merrin, it's too familiar to have much scary impact.

Part of Schrader's point, in fact, seems to be that what humans can inflict upon one another is more disturbing than the potential for the devil to take over human souls. Cheche's possession is almost a sideshow set against the dominant threat of violence in the village between the resentful native Turkana tribespeople and the occupying British. And the most horrifying moment comes when one Turkana man turns against his own, a setpiece that, to the other characters, suggests God's absence as strongly as anything happening to Cheche. "Is this how the Almighty rewards those who have kept faith with him?" a villager asks Merrin in the wake of this violence, and the priest's terse answer is "Yes."

That brief statement says it all as far as Merrin's cynical attitude is concerned, and Skarsgård is persuasive in a more interior interpretation of Merrin than he gave in BEGINNING. But while casting Merrin as a character who is acted upon for most of the story makes a certain aesthetic sense, it's not the most dramatic approach, and Merrin also takes a backseat for too long to the events surrounding him. He spends a good deal of the time debating issues of faith with Father Francis (Gabriel Mann), a young priest called in to oversee Merrin's excavation of the church, and Dr. Rachel Lesno (Clara Bellar), a Holocaust survivor running a clinic in the village. Both Mann and Bellar do good, grounded work here, with Bellar's characterization more believable than Izabella Scorupco's misconceived BEGINNING counterpart.

The most impressive performance, though, may well be that of Crawford, a pop singer who has never acted before but is thoroughly convincing, aided in both his disfigured and "healthy"/possessed guises by fine KNB makeup FX. Their prosthetics don't tip the movie over into overstated "horror" territory, and indeed all the technical contributions help Schrader evoke an air of realism, including John Graysmark's production design and especially the cinematography by Vittorio Storaro (who shot both versions). Although the evident digital postproducing of DOMINION results in a flattening of the image, Storaro's use of light and shadow remains first-rate in a story that's all about the balance of those elements in the human soul.

And so the long cinematic history of THE EXORCIST (one assumes) comes to a close. Thanks to DOMINION's escape from the shelf, the series going out on a higher note than it might have, even if it's not as frightening or as completely satisfying as the original's devotees might hope. But it's an honorable piece of work, and like the equally troubled, initially maligned but since rediscovered EXORCIST III, DOMINION might achieve a following of its own and—similar to Merrin—find a measure of redemption.

Video sam Schraderovu verziju, vrlo dobar film, razlika između ovog i one nanovo snimljene bljuvotine je ko noć i dan.

Eeee!
Zar se to najzad pojavilo na divxu?
Gde si gledao?
Taj šturi komentar je otprilike i sve u šta retko ko da je uopšte sumnjao: DAJ DETALJE, DAJE KONKRETNO, reci kako film stoji prema ostalim EXORCISTIMA, a kako kao film za sebe itd.

Quote from: "Ghoul"Eeee!
Zar se to najzad pojavilo na divxu?
Gde si gledao?
Taj šturi komentar je otprilike i sve u šta retko ko da je uopšte sumnjao: DAJ DETALJE, DAJE KONKRETNO, reci kako film stoji prema ostalim EXORCISTIMA, a kako kao film za sebe itd.

U nedelju se na netu pojavio DVDrip, pa če se valjda uskoro raširiti...

Pa u biti je sve kao što se i pretpostavljalo, slažem se s recenzijom fangorie, Schraderov je film više psihološka drama nego horror, pa nije ni čudno što lovatori iz Morgan Creeka nisu videli komercialni potencijal. Neki elementi su ostali u obe verzije, ali dok je recimo scena sa nacistima kod Harlina beznačajni flashback, ovde je to ključna scena filma koja otvara film i još se kasnije dvaput ponovno "odigra", ali neču da spojlujem .... Tempo je dosta spor, old skul filmmaking, ali dobro doziran i iako nema nekih pravih shockova, jeziva atmosfera drži do kraja... A sad, sam kraj mi je bio veoma razočaravajuči, ne znam jesu li to ostalo nedovršeno posle prekida s producentima ili je to to, ali to bi se moralo bolje uraditi.

Teško je uspoređivati s ostalima iz serije, nisam baš neki poznavatelj horrora, ali ipak se tu radi o četiri (to jest pet) sasvim različita filma, čak i rekao bih različitih žanrova,  ali uprkos nekim problemima Dominion mi je isprao gorak ukus besmislenog Beginninga, to mi je najviše važno  

Nije mi se dopao Schraderov EXORCIST. Naravno da vise lici na Film od one Harlinove papazjanije, ali jos uvek mi je sve to krajnje usiljeno i neubedljivo – od pocetne scene (u kojoj los glumac nazi oficira kvari dramu, koja je ionako isforsirana i neubedljivo, za mene, prikazana). Citava misterija zakopane crkve se prebrzo i olako gura pod tepih, Merrin je i dalje nula kao lik, njegov odnos sa Djavolom presimplifikovan tom ratnom traumom, finalni sukob – 'exorcizam' je mlitav i banalan, a cak ni zavrsni omaz TRAGACIMA, ako je svestan – krajnje je besmislen u ovom kontextu. Naime, kod Forda Wayne odlazi u proslost (legendu?), kao relikt za koga nema mesta u modernom svetu. To je mesto koje pripada i exorcistima, djavolima i ostalim zaglupljujucim sujeverjima. Avaj, to nije implikacija ovog filma, niti moze da bude, posto je prequel desavanjima iz Fridkinovog filma u kojima je Djavo nesumnjivo aktuelan i mocan, bas kao i compelling 'power of Christ'. Sve u svemu, lomim se izmedju 2+ i 3-.

...u samom startu ovo je bio,prvenstveno i najbitnije umetnichki gledano,gubitnichki projekat!jeste bolji od Harlinove budalashtine,ali i ova verzija je bila izmuchena od strane producenata koji su naivno verovali da ce zbir talenata Paula Schradera i Caleba Carra(koji je napisao sjajan roman ALIJENISTA(kod nas objavljen kod Lagune)),dokazane glumachke uverljivosti Stellana Skarsgaarda i svima poznate priche,biti dovoljan za uspeshan film!na stranu mrcvarenje scenarija,ali ochito je da vec dugo vremena Schrader funkcionishe po principu vruce-hladno,a ja sam,pride,stekao i utisak njegovog bezvoljnog ucheshca u ovom projektu;srecom radi se o poduhvatu koji ce ubrzo svi zaboraviti narochito ako Schraderu podje za rukom da ostvari josh jedan poduhvat sa narednim filmom!
*****bledo,mlako,muzgavo i nepotrebno-2+

Pogledah i ja najzad 'Dominion'... Stvarno je slab, cak i kada se poredi sa Harlinovom papazjanijom, zvuci neverovatno, ali neke stvari su tamo bolje odradjene. Jeste da je ova verzija koherentnija i da vise lici na film, ali na HOROR film jok, sad mi je donekle i jasno zasto su producenti ponovo snimili citavu stvar, steta samo sto su tada otisli u drugu krajnost (tj. pretrpali sve gomilom bezumnih, kao sokantnih, gor scena koje su bezmalo pojele zanimljivu premisu). Elem, ono sto je konstanta u oba filma je Stellan Skarsgard, covek se odra glumeci i da se ja pitam dobio bi bar nominaciju za Oskara za toliki trud. Problem sa Schraderovim filmom je sto su svi elementi price tu, ali kada se spoje u celinu efekat je bezmalo nula. Atmosfera je skoro pa nepostojeca, sve izgleda cisto i sterilno, skoro kao tv film, nema tu prave tenzije, a ljudska drama je nedovoljno naglasena. Dobro, ono s nacistima ovde ima daleko vise smisla, kao i zavrsno suceljavanje (nema onog debilnog 'obrta' kao kod Harlina), ali je i to prelako reseno, skoro pa happy-end! Ono sto se ponajvise izdvaja u odnosu na drugu verziju je uloga/lik koju tumaci Gabriel Mann, i dok mladi svestenik kod Harlina ima ulogu tek da zagine na kraju, ovde je otac Francis skoro pa bitniji lik u odnosu na Merrina; takodje je lepo videti kako je napravljena kopca sa originalnim filmom tj. objasnjenje za onu jezivu facu sto pojavljuje u fleshevima, Billi Crawford koji igra zaposednutog decaka je vrlo ubedljiv. E, sad, rekoh da je Harlin u necemu bolji. Dakle, osim sto 'Beginning' ima naglaseniju horor atmosferu (tj. cak prenaglasenu do bestidne eksploatacije), ritam filma je znatno bolji, lik oca Merrina je profilisaniji (Schrader je preterao sa introspekcijom), i, kljucna stvar, doziranje tenzije koje kulminira u obracunu vojnika sa plemenom je uspelo donekle da izvadi stvar kad je rec o smesnom egzorcizmu (a i pravi lepu kopcu sa uvodnom scenom). Kod Schradera tenzije skoro i da nema, a zavrsne scenu su izrazito antiklimakticne i upravo je to trenutak kada film deluje istinski nedovrseno (steta, posto je egzorcizam zapoceo obecavajuce). Na kraju, 'Dominion' je ipak za nijansu bolji film, ali bih radije ponovo pogledao 'Beginning'. Oba reditelja su otisli u jednu krajnost i isporucili prosek; mozda kad bi se filmovi iskombinovali pa se iz toga izmontirao treci film, mada sumnjam...

Nisam pogledao DOMINION ali moram priznati da me strasno iritira strpljenje i pozitivna predrasuda sa kojom se prilazi Schraderovoj verziji u odnosu na Harlinovu od koje se ocekuje da ili bude super (a i da je super, to bi bilo izreceno tipa `bogami, moram priznati ja sam uzivao` a ne onako sirokogrudo) a ako nije onda se odmah odbacuje bez ikakvog redeeming featurea, a da u isto vreme Harlin definitivno stoji kao reditelj koji je po svakom kriterijumu snimio vise boljih filmova od Schradera, daleko je bitniji za zanr od njega, i da mu je last movie (to se nazalost uvek gleda) podjednako relevantan kao Schraderov, kome je last movie sticajem okolnosti i gotovo pukom slucajnoscu bio bolji od ostatka smeca koje je snimao poslednjih decenija.

To me podseca na jednu gotovo apsurdnu situaciju kada me je jedan clan ovog foruma, inace covek istancanog ukusa upitao jednom prilikom `kakav je novi Karanovic` iako ga u sustini od nasih reditelja eventualno po preferncama mogu zanimati Zecevic i Markovic. Ipak, on kao i svi Srbi ima ugradjen cip za `stare umetnicke velicine`. Tako i sa Schraderom.

Kod Harlina ocigledno Srbi ne mogu da svare cinjenicu da je placenik, radi za studio, snima nastavka, pokusava da zabavi publiku, i sve ostalo protiv cega su nas ucili.

Krip, soske nervoza?
Kod mene i pozitivna i negativna predrasuda traju samo do GLEDANJA filma – a onda ni po babu ni po dedu!

Može Kronenberg da bude TriPutNajveći genije koji se ikad uhvatio kamere, ali HISTORY je slab i njega nedostojan film, i tu nikakva unapred-stvorena očekivanja nemaju šta da rade.
Isto kao kod novog Romera: ja se i dalje kunem u DAWN ali sam i dalje skoro-hladan prema LAND.

Isto tako sa Šrederom: ŽELEO sam da verujem pozitivnim kritikama (uključujući tu i poštovanog A. Bečanovića – koji, kad ga već pominjem, smatra VIOLENCE skoro-remek-delom!) –ali to nikako ne utiče na gledanje samog filma: kad se ono desi, vidim pred sobom samo film, pa bio on by Cronenberg, Schrader, Harlin or Umberto Lenzi – ocena je samo za ono što U filmu vidim, odnosno što OD njega dobijem.

Obe ove verzije EXORCISTA su jednako promašene, mada na različite načine: Harlinova je 'kako mali Đokica zamišlja kvazi-religiozni slasher rollercoaster' a Šrederova 'kako mali Đokica zamišlja bavljenje kvazi-dubokim religiozno-metafizičko-psihološko-antropološkim i inim problemima'. Harlinov je gledljiva budalaština iz kategorije 'so silly it's kinda fun, but not quite', a Šrederov je više kao 'keeps nudging for my compassion, but is just embarrassing in its ineptitude'.
If you'll pardon my French tickler.

Ghoul, sve se slazem sto si napisao. Prethodna reputacija pada u vodu pred filmom. Tako bi trebalo da bude. Medjutim, ljudi su generalno znatno strpljiviji kada gledaju Schraderov nego Harlinov promasaj. To je ono sto je nepravedno, izmedju ostalog i zato sto u sustini cak i da je reputacija vazna, Harlinova je po svakom sagitaskom, ali ne i srpskom tradicionalnom, kriterijumu veca od Schraderove.

To me podseca na srpsku prosvetu gde se nastavnici vise bave losim djacima moleci ih da nauce za dva i zlobno propitujuci dobre ne bi li ih uhvatili nespremne.

...mislim da su to strpljenje i pozitivna predrasuda kojima se pristupa Schraderovoj verziji u odnosu na Harlina PRE SVEGA posledica(makar je to kod mene bio sluchaj!) prostog sleda dogadjaja-Harlinova verzija se prva pojavila,imala wide theatrical release,svi znamo koji su dometi tog filma...tako da su se pogledi zaintersovanih prirodno usmerili ka Schraderu kao mogucem,makar instant spasitelju!Ovde dolazimo do porazne chinjenice da su oba autora zestoko podbacila i da se u uporedjivanju njihovih promashaja ipak bavimo nijansama(uvek je tu pitanje,da li su uopste,imajuci produkcione probleme u vidu,i imali shanse za bolje ishode svojih,pretpostavimo,dobrih namera?).Harlin je,sa jedne strane,pokushao da tim kontekstu neprimerenim gore ispadima zabashuri sushtinsku prazninu koncepta,dok je Schrader,sa druge strane,isto to pokushao da ostvari potenciranjem nemushte metafizichke zapitanosti nad osnovnom premisom priche.Obojica su podbacili i dopustili da se njihovi potpisi nadju na filmovima koji zbilja umanjuju respektabilnost njihovih filmografija.Ja jako cenim Rennyja Harlina jer je i u okviru svog hired hand statusa uspevao da ostane prepoznatljiv i zato shto su chak i njegovi neuspesi bili zanimljivi,ako ne za gledanje,a ono makar za analizu(na stranu chnijenica da je on potpisnik spotless remek-dela kakav je CLIFFHANGER!);jednako mi je drag i Paul Schrader,koji je nekako izvojevao apartnu poziciju u okviru hollywoodskog studijskog sistema-chesto sam ostajao zblanut nad Harlinovim odabirom projekata,bash kao sho me je i Schrader chesto zbunjivao svojim oscilacijama,posrtanjima i ponovnim usponima...zato zelim da verujem da su,kao shto to chesto biva sluchaj ovih dana,oba ova pred-nastavka prvenstveno cheda nejasnih,sumanutih i u samom zachetku promashenih namera producenata,nego znakovi loshe forme krajnjih izvodjacha radova(da,naglasim da  sam nisam obozavalac Friedkinovog izvornika,pa da ga smatram svetinjom  u koju se ne sme dirati;mislim da se taj serijal ozbiljno zaljuljao vec sa drugim delom,a da su ga Harlin&Schrader zajednichkim snagama urushili da se vishe nikad,na pravdi Boga,ne uspravi!).
za kraj jedna prosvetarsko poredjenje-ova 2 filma su me podsetila na glupu,buchnu i prostu decu koja se dodatno trude da ostave utisak gluposti i prostote kako makar neko out there ne bi pomislio da oni,u biti,i jesu glupi i prosti!

U konkretnom slucaju stvar je u uticaju prokletog studija koji je odbacio Schraderov film i unajmio Harlina da snimi novi, i iz te perspektive razumljivo je da se razvije pozitivna predrasuda spram te prve verzije, a mislim da je razocarenje Harlinovim filmom to dodatno podgrejalo, na kraju ispalo je mnogo buke ni o ko cega. A sto se tice ta dva reditelja ja generalno imam simpatije kad je rec o Harlinu i mislim da je vrlo potcenjen reditelj, a jeste itekako relevantan za zanrovski film, ali ne za horor film po sebi vec za kombinovanje zanrova, prvenstveno akcije i horora, mislim da se mozemo sloziti da bi on bio idealan izbor za reziju nekog od "Final Destination" nastavaka (ako se ta fransiza zahukta, da kucnem u drvo...). Sto se tice Schradera ja zaista cenim njegov rad, i to ne samo u smislu stare slave i rada sa Scorsezeom; ja recimo smatram da je on u devedesetima pored nekih zanimljivih promasaja snimio i dva izuzetna filma "Light Sleeper" (jedan od omiljenih mi filmova uopste) i "Affliction". Kad je rec o "Exorcist" serijalu mozda je i najbolje da se lepo stavi tacka na sve to, iako postoji jos puno materijala za novi nastavak cisto sumnjam da iko u Holivudu ima hrabrosti/kreativnosti da pristupi tome na drugaciji nacin (ja bih recimo snimio nastavak koji bi se desavao na bliskom istoku u sred verskog rata tj. potencirao bih onu notu koja se samo provlaci kroz oba ova prequela (kod Harlina nesto vise), i to sve u maniru ratnog dokumentarca sa povremenim izletima u horor). Inace, steta sto su producenti osakatili "Exorcist III", posto je to cak i u toj i takvoj verziji ubedljivo superioran film u odnosu na sve druge (pred)nastavke, a povremeno cak i u odnosu na original.

Smatram da je problem EXORCIST fransize u tome sto od kad ju je Warner dropovao Morgan Creeku, producenstkoj kuci, prethodno je utukavsi Boormanovim nastavkom, koja je BTW terala Schradera, nema Warner veze s tim, serija je upala u totalnu dezorijentaciju.

Posle Billy Friedkinovog klasika koji je ostvrio crossover potencijal izmedju zanra i umetnosti i ultra neuspelog nastavka koji su hteli da snime po istom principu spoja zanra i arta i sa angazovanjem arty reditelja, vec treci, vrlo solidan i potcenjen, film zapravo uopste nije bio predvidjen kao sequel nego je pripadao istoj mitologiji pa su mu na silu nalepili etiketu nastavka.

U cetvrtom su pokusali da ponove formulu, dovodjenje arty reditelja koji ce da postigne i zanr i art, ali su se zbunili oko sadrzaja. Sta je nuzan sadrzaj za EXORCIST sequel? Niko ne moze sa sigurnoscu da kaze. Koji setting?

Na kraju su zavrsili sa slabim konceptom, nerazvijenim scenarijem koji je po meni osnovni problem filma (nisam gledao Schradera) i obiljem eksplicitnog teoretisanja gde ljudi naglas odustaju od vere.

Ova fransiza je mozda mrtva, ali nekako mislim da je jako daleko od toga. Medjutim, jedini nacin da ozivi je da producenti sami sa sobom postignu konsenzus sta je zapravo sadrzaj nastavaka i zasto se oni prave i sta publika treba da u njima vidi.

Ja licno mislim da bi trebalo poci od sledeceg nacrta:

+ savremeni urbani setting, svi ostali bilo da su istorija ili egzotika impliciraju prisustvo neobicnih sila i poriva. urtbani setting j anesteziran, racionalan, i bas zato u njemu posednutost deluje enigmaticno. jedna od gresaka BEGINNINGa je u tome sto je smesten u primitivnu zajednicu gde su demoni svakodnevna pojava

+ character-driven postavka odmaknuta od likova iz prvog EXORCISTa koji su kompromitovani a i da bi se izbegla sitkomizacija koja inace opterecuje dugovecne serije

+ pokusati da svaki film stoji za sebe, da ne bude gimmick driven genre fare kao FINAL DESTINATION vec snazna prica sa odredjenim prepoznatljivim elementima. vremenom bi tako EXORCIST postao brend visokokvalitetnog okultnog trilera/horora a ne exploitation fransiza

+ angazovati pisca i reditelja koji mogu da uzdignu materijal iznad rutinskog zanrovskog geta. dakle, ne uzimati Yuznu da rezira i Jeffrey Combsa da igra padrea osim ako ne nude Cravena i Sean `Puffy` Combsa

recimo, dati Emiru da rezira EXORCIST, letenje, ludilo, svi se ponasaju posednuto, okultni slapstick, pop u ciganskom selu, ili pak Rasi Andricu, klinci inhalirali Sotonu kroz losu siptarsku travu...

Ma potpuno sam saglasan, treba snimiti nesto sa potpuno savremenom tematikom i u isto takvom okruzenju, sa sve: bivsim svestenicima poljuljane vere koji posle iskustva sa onostranim postaju vladini agenti/ubice, demonskim manifestacijama koje koincidiraju sa napadima terorista, posednutim ambasadorima U.N.a, drevnim sektama kao isturenim krilima MOSADa i sl. sluzbi, sablasnim sublimnim prikazanjima na CNNu (mali IN VIVO rip-off), i obiljem ritualnog zrtvovanja zakamufliranog u globalni rat... i nabacati jos hrpu ovakve, na prvi pogled, najgore palpovstine, ali sve to postavljeno u hiperrealisticni seting i izrezirano potpuno u stilu serije 24, pa cak i sa opcijom da to rezira Hopkins (ili Greengrass), a glumi Kiefer. Naravno, takav film dosledno realizovan uspeo bi da uvredi pripadnike svih vodecih religija i drugih ideoloskih grupa, ali bi zato imali potpuni hit sa sve bombasem samoubicom na premijeri!  

Quote from: "Milosh"Ma potpuno sam saglasan, treba snimiti nesto sa potpuno savremenom tematikom i u isto takvom okruzenju, sa sve: bivsim svestenicima poljuljane vere koji posle iskustva sa onostranim postaju vladini agenti/ubice, demonskim manifestacijama koje koincidiraju sa napadima terorista, posednutim ambasadorima U.N.a, drevnim sektama kao isturenim krilima MOSADa i sl. sluzbi, sablasnim sublimnim prikazanjima na CNNu (mali IN VIVO rip-off), i obiljem ritualnog zrtvovanja zakamufliranog u globalni rat... i nabacati jos hrpu ovakve, na prvi pogled, najgore palpovstine, ali sve to postavljeno u hiperrealisticni seting i izrezirano potpuno u stilu serije 24, pa cak i sa opcijom da to rezira Hopkins (ili Greengrass), a glumi Kiefer. Naravno, takav film dosledno realizovan uspeo bi da uvredi pripadnike svih vodecih religija i drugih ideoloskih grupa, ali bi zato imali potpuni hit sa sve bombasem samoubicom na premijeri!  

Ti se zajebavas, ali ovo zvuci kao moj potpuni wet dream, kako si pogodio Kiefera, Hopkinsa i Greengrassa, razgovarao si sa mojom mamom?

Ko kaze da se zajebavam...

"Exorcist - The Blasphemer"

(treba da mi daju posao producenta u Morgan Creek studiju.   )

"Exorcist - The Blasphemer"
TOTALNO GENIJALNO!
I NE SAMO ZBOG SLIČNOSTI SA IN VIVO (though, it helps)!

Podržavam i potpisujem.

povratak korenima!

THE EXORCIST lokacije: ekskluzivne fotke



http://ljudska_splacina.com/2013/08/the-exorcist-lokacije-ekskluzivne-fotke.html