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

Ooooh, sad si me izduvao... nameravam sutra da ga pogledam, ali... i ja sam se pitao ima li Whedon skila i stila za ovako nešto...


Doduše, sa komercijalne strane, Marvel nema šta da brine, ovaj film je prošao jako dobro već prvi dan prikazivanja.

Quote from: Meho Krljic on 04-05-2012, 21:02:00
Ooooh, sad si me izduvao...

Ma hajde, glavu gore, to ne može biti tačno!

Ili može...?

Au, bas visoka ocena za Avengers: http://www.imdb.com/title/tt0848228/

Quote from: Meho Krljic on 04-05-2012, 21:02:00
Ooooh, sad si me izduvao... nameravam sutra da ga pogledam, ali... i ja sam se pitao ima li Whedon skila i stila za ovako nešto...


Doduše, sa komercijalne strane, Marvel nema šta da brine, ovaj film je prošao jako dobro već prvi dan prikazivanja.

Ovo će nezasluženo da razvali, ali filmovi po Marvelu su toliko uznapredovali u odnosu na ovo da deluje baš žalosno!

Remembering the Beastie Boys' Adam Yauch, an Icon of Remix Culture

    By Peter Rubin

In losing Adam Yauch — the musician and lyricist known to most as MCA — music has lost an icon, yes. But beyond that, for those who love what's become known as "remix culture," a musical movement is now minus one of its founding fathers.

Yauch, who rose to fame in the 1980s with fellow Beastie Boys Adam Horovitz (Adrock) and Michael Diamond (Mike D), was just one of three — and all contributed equally to the group's style. But they were also like Voltron, strongest when they were together and cooking up magic (see: "B-Boy Bouillabaisse"). As a trio, they were a force that taught a generation of musicians that they — as Wired's cover put it in 2004 — had to fight for their right to copy.

Yauch died Friday after a prolonged bout with cancer. His passing comes at a time when the Beastie Boys, a group whose music on classic albums like Paul's Boutique and Ill Communication would come to define the art of sample-based music, had just received one of its highest honors. The group's massive influence on music was recognized just last month when the Beasties became the third rap group in history to be inducted into the Rock & Roll Hall of Fame (the ceremony will air Saturday on HBO).

Yauch was too ill to attend the Hall of Fame ceremony, but expressed his thanks in a letter he sent with Horovitz and Diamond. Yauch joked about getting the accolade a couple years ago when the topic of the Beasties' eligibility for the Hall was brought up.

"Let's just say, can you get a placard?" Yauch told Wired and a few other journalists when asked if he'd be honored to be inducted in 2007. "I would be honored to receive a placard."

For fans of hip-hop and remix culture, however, Yauch is deserving of much more than a placard or even of a place in a hallowed Cleveland hall. His work as both a studio master and video director (he created the videos for the Beasties' "So What'cha Want" and "Intergalactic" under the alias of Nathanial Hörnblowér) made him a renaissance man for the remix age.

"No one really knows what I'm talkin' about/Yeah, that's right, my name's Yauch." That line appears on the Beastie Boys' second album, 1989′s Paul's Boutique, but by then MCA had already cemented his role in the trio. He might have been less than a year older than Mike D, but he was somehow the mature one, the guy who held it all together. Part of that was his voice: a hoarse bark tuned well below the wriggling puppies of Mike D and Adrock's nasal yelps.

More than that, though, or his graying hair, it was his attitude: Even on the group's hyper-frattish debut Licensed to Ill, he was the amused uncle, the hung-over camp counselor who shrugged, threw on some sunglasses and waded into the fray. Hip-hop had always been a collection of archetypes — lover men, braggarts, tough guys — and Mike D and Adrock took all those images and turned them on their head.

MCA, though? MCA was just there to slow the entropy without ruining the fun.

Adam Yauch (left) with fellow Beasties Michael Diamond (Mike D, center) and Adam Horovitz (Adrock) in 2004.
Photo: Anthony Mandler/Wired

Specifically, he was the thoughtful one when it came to the Beasties' ethos on sampling, telling Wired in 2004 how the group approached sampling and how he felt about other artists borrowing from Beastie Boys' cuts.

"It's totally context. And it depends on how much of our song they're using and how much of a part it plays in their song," he said. "We might take a tiny little insignificant sound from a record and then slow it way down and put it deep in the mix with, like, 30 other sounds on top of it. It's not even a recognizable sample at that point. Which is a lot different than taking a huge, obvious piece from some hit song that everyone knows and saying whatever you want to on top of that loop."

In the early days, he seemed like he was just happy to be part of the madness, but a sea change happened somewhere in the middle of 1992′s Check Your Head. Yauch was anchoring the group as always — this time as the bassist on the many live-instrument tracks — but even rapping on "So What'cha Want," he sounded like he had a learned a secret: "But little do ya know about something that I talk about/I'm tired of drivin', it's due time that I walk about."

By the time the album ended, on the existential meditation "Namaste" (and think about that title choice in 1992, years before sun salutations had pervaded mainstream culture), it was pretty clear that someone in the Beasties was on some other shit. Gone were the spraying Budweiser tallboys and dusted provocations that had pervaded their first two albums, and taking their place was a more reasoned approach. It was almost, we thought listening to it at the time, grown-up.

And it was. It really was. While they thankfully never became The Beastie Men — their sense of fun remained ever intact, doing live shows dressed as pharmacists or astronauts — they did continue to grow. Yauch's nascent interest in Buddhism became a full-fledged spiritual journey, and his vocal advocacy for Tibetan rights predated your favorite rapper's favorite cause by many years. He became a surprisingly talented video and documentary director. And along the way, the Beasties became éminences grises not just of hip-hop, but of music itself, from Licensed to Ill to the remix-ready 2007 joint The Mix-Up to last year's Hot Sauce Committee Part Two. The kids who had beer-bonged their way into rap when it was at its most insular had become men with families, but they still managed to put their mic where their mouth was and rock a crowd.

It's too early to tell what Horovitz and Diamond will do following Yauch's passing, but what is clear is that a truly brilliant — and distinctly gravelly — voice in music has been lost.

Wired culture reporter Angela Watercutter contributed to this story.

"The Incredibles" and "Mission Impossible: Ghost Protocol" director Brad Bird may have found his next directorial effort - "1952" at Disney Pictures says Deadline.

Former "Lost" producer and "Prometheus" scribe Damon Lindelof co-wrote the script with Jeff Jensen and while plot details are under wraps, the project aims to be a "tent pole with multi-platform aspirations".

Disney hopes it'll be Bird's next project but admittedly it's still a while off as shooting would not get underway until next year and Lindelof will produce. Bird meanwhile is developing his own projects including the similarly titled but quite different "1906".

Peter Berg's 2004 Texas football film "Friday Night Lights" scored good notices upon its release, but it has been the five season-long TV series incarnation that has really scored both critical acclaim and cult following.

Since it wrapped last year, fans have been keen to see the small screen version's cast get their time on the big screen, especially Kyle Chandler and Connie Britton's husband-and-wife characters. Those involved seem to all be keen to do it, but little progress seems to have been made.

Now, out doing "Battleship" promotion, Peter Berg did an interview for Details Magazine (via Zap2It) during which Britton stopped by and they both talked about a FNL movie.

Britton says she'd just come from a meeting at the office of the show's former executive producer Jason Katims, and "we were talking about something else and I said, 'Forget about all that. Is this movie going to happen?' I was sitting on his couch, and he's like, 'Look behind you.' And I look behind me and it's a wall with a big, huge corkboard on it with all these 3x5 cards. That's what these writers do, they do the whole story on 3x5 cards. He's like, 'That's the movie.'"

Britton added "I was so excited. Then [Katims was], like, 'Don't look at it! I don't want you to see it until it's a script.' I'm like, 'I'd better have a good part in it!'". Berg added Kyle Chandler has agreed to do the film.

It's been suggested that the central story is reportedly based on the scandal in which Texas Tech coach Mike Leach was fired for reportedly making a concussed player wait in an equipment closet. Ultimately it was revealed that Leach had simply asked the player, the entitled son of Patriots running back Craig James, to stay out of the sun.

Quote from: crippled_avenger on 05-05-2012, 04:39:25
"The Incredibles" and "Mission Impossible: Ghost Protocol" director Brad Bird may have found his next directorial effort - "1952" at Disney Pictures says Deadline.

Former "Lost" producer and "Prometheus" scribe Damon Lindelof co-wrote the script with Jeff Jensen and while plot details are under wraps, the project aims to be a "tent pole with multi-platform aspirations".

Disney hopes it'll be Bird's next project but admittedly it's still a while off as shooting would not get underway until next year and Lindelof will produce. Bird meanwhile is developing his own projects including the similarly titled but quite different "1906".

Oh, Lindelof i Bird. Miruj srce moje!!!!!!!!!

Aussie filmmaker Justin Kurzel ("The Snowtown Murders") is set to direct an adaptation of John le Carre's novel "Our Kind of Traitor" for The Ink Factory and Potboiler Productions says Variety.

Hossein Amini ("Drive," "Snow White and the Huntsman") penned the script which follows a young couple who are persuaded into helping a charismatic Russian criminal to defect. The story takes place across London, Paris, Moscow and Tangiers.

Stephen Cornwell, Simon Cornwell, Rhodri Thomas, Gail Egan and Andrea Calderwood will produce. Shooting aims to kick off this Fall.

kripe,
gde može da se pogleda lice revolucije?

Pogledao sam Kicošev film LICE REVOLUCIJE i moram reći da je naš politički film dobio vrlo talentovanog reprezenta koji se na mnogim poljima nastavlja na Želimira Žilnika, od činjenice da je po struci pravnik preko spoja igranih i dokumentarnih delova i odabira teme. Kicoš je savremen u svom pristupu i izuzetno ubedljiv u svojoj integraciji igranih i dokumentarnih materijala. Vrlo je koncentrisan i ne dopušta da stvari skliznu u pravcu vica, uspevajući da kroz ceo film i svu tu mešavinu igranog i dokumentarnog održi istu vrlo ozbiljnu i tešku emociju koja ne dopušta humoru ili ironiji da prodru. Ako se izuzmu suvišni delovi vezani za atentat na Đinđića i napad na učesnike gej parade što nema dovoljno veze sa temom Branka Ilića, odnosno, ako ima veze ona nije dovoljno objašnjena, LICE REVOLUCIJE je konzistentan rad koji nesumnjivo unapređuje Žilnikove postulate za novo doba i što je još važnije, vraća Žilnikove postulate iz domena video rada u domen filma. Kicoš je definitivno snimio film, i na taj način automatski zauzeo važno mesto na našoj sceni.

lilit, bio je sinoć na Beldocsu ali mislim da će uskoro verovatno krenuti negde, tipa u Domu omladine i sl. Raspitaću se pa ti javljam...

Jonah Hill is in negotiations to join Leonardo DiCaprio in Martin Scorsese's adaptation of the Jordan Belfort memoir "The Wolf of Wall Street" says The Hollywood Reporter.

DiCaprio plays a Long Island penny stock broker who served 20 months in prison for participating in a massive 1990's securities fraud that involved widespread corruption on Wall Street and in the corporate banking world.

Hill would play his best friend and business partner Danny Porush, a furniture salesman who joined his meteoric rise and colossal fall. DiCaprio, Scorsese, Riza Aziz, Joey McFarland, Emma Koskoff and Alexandra Milchan are producing.

 

lilit, 8 maj u 18.00h Dom Omladine

Quote from: crippled_avenger on 05-05-2012, 13:01:15
lilit, 8 maj u 18.00h Dom Omladine

idealno!
hvala.

Adam Yauch, 1964-2012 Rapper Conquered Music World in '80s With Beastie Boys      Chris Farina/Getty Images The Beastie Boys performing in 2004: Michael Diamond, left, Adam Yauch and Adam Horovitz.
   By JON PARELES Published: May 4, 2012     

   
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Adam Yauch, a rapper and founder of the pioneering and multimillion-selling hip-hop group the Beastie Boys, died on Friday in Manhattan. He was 47.       
   

   
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• ArtsBeat: Yauch, Beastie Boys Rapper Known as 'MCA,' Dies (May 4, 2012) 
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   Marko Djurica/Reuters Mr. Yauch in 2007.                           
    His mother, Frances Yauch, confirmed his death. He had been treated for cancer of the salivary gland for the last three years.       
With a scratchy voice that grew scratchier through the years, Mr. Yauch rapped as MCA in the Beastie Boys, who were inducted into the Rock and Roll Hall of Fame this year. They offered many listeners in the 1980s their first exposure to hip-hop. They were vanguard white rappers who helped extend the art of sampling and gained the respect of their African-American peers.       
While many hip-hop careers are brief, the Beastie Boys appealed not only to the fans they reached in the 1980s but to successive generations, making million-selling albums into the 2000s. They grew up without losing their sense of humor or their ear for a party beat.       
Mr. Yauch (pronounced yowk) was a major factor in the Beastie Boys' evolution from their early incarnation, as testosterone-driven pranksters, to their later years as sonic experimenters, as socially conscious rappers — championing the cause of freedom in Tibet — and as keepers of old-school hip-hop memories. The Beastie Boys became an institution — one that could have arisen only amid the artistic, social and accidental connections of New York City.       
In the history of hip-hop, the Beastie Boys were both improbable and perhaps inevitable: appreciators, popularizers and extrapolators of a culture they weren't born into.       
"The Beasties opened hip-hop music up to the suburbs," said Rick Rubin, who produced the group's 1986 debut album, in a recent interview with The Plain Dealer of Cleveland. "As crazy as they were, they seemed safe to Middle America, in a way black artists hadn't been up to that time."
The rapper Eminem said in a statement, "I think it's obvious to anyone how big of an influence the Beastie Boys were on me and so many others."
The Beastie Boys started their major-label career with two pivotal albums: "Licensed to Ill" (1986), a cornerstone of rap-rock that became the first hip-hop album to top the Billboard chart, and "Paul's Boutique" (1989), a wildly eclectic, sample-based production that became a template for experimental hip-hop.       
The Beasties brand expanded well beyond music: with their own magazine and record label, Grand Royal; with the social activism of Mr. Yauch's Milarepa Foundation, which produced an international series of Tibetan Freedom Concerts; and with work in film, as Mr. Yauch (calling himself Nathanial Hörnblowér) directed Beastie Boys videos and went on to start Oscilloscope Laboratories, an independent film production and distribution company.       
The Beastie Boys' appeal endured. Into the 2000s they could headline large events like the Coachella Valley Music and Arts Festival. Each of their albums up to "To the Five Boroughs" in 2004 has sold at least a million copies, and many of them have sold in the multimillions, in the United States alone.       
"I burn the competition like a flame thrower/My rhymes they age like wine as I get older," Mr. Yauch rapped on the Beastie Boys' 2011 album, "Hot Sauce Committee Part Two."       
When they started rapping in 1983, the Beastie Boys — Mr. Yauch, Adam Horovitz (Ad-Rock) and Mike Diamond (Mike D) — were greeted by some hip-hop purists as a novelty act. They were Jewish bohemians, not ghetto survivors; they were jokers, not battlers. Yet the Beastie Boys recorded for a label that was a bastion of New York hip-hop, Def Jam, and they toured alongside Run-D.M.C. and LL Cool J.       
They went on to garner admiration and influence with productions that kept coming up with surprises — including, eventually, the rappers' playing instruments again — and with rhymes that would mingle humor, boasting and an increasing idealism. Even when the Beastie Boys were treated as a joke, it was a joke they would be in on for decades to come.       
Adam Nathaniel Yauch was born on Aug. 5, 1964, in Brooklyn. Playing bass, he and Mr. Diamond started the Beastie Boys in 1981 as a hard-core punk band. The group's original drummer, Kate Schellenbach, has said, "Whereas other bands, just as awful as the Beastie Boys, would actually believe they were good, for Mike and Adam the whole point was to be terrible and admit it."       
That group broke up after releasing an eight-song, seven-inch EP, "Polly Wog Stew." The Beastie Boys reappeared in 1983 with Mr. Horovitz on guitar, and made "Cooky Puss," a 12-inch single of prank phone call recordings over a rock guitar riff and hip-hop scratching. The group had been listening to New York hip-hop since the late 1970s.

Mr. Yauch once said that the Beasties had started rapping as a joke, but found that audiences liked it better than their punk-rock. Mr. Rubin, then a student at New York University, joined the group as a disc jockey. He also brought them to the attention of Russell Simmons, the manager of Run-D.M.C. and other leading hip-hop acts of the era. He added the Beasties to his roster.     
  When Mr. Rubin and Mr. Simmons started Def Jam, the Beastie Boys were one of the label's first signings: catalog number DJ 002, in 1984, was the Beastie Boys' single "Rock Hard." The Beastie Boys toured with Madonna in 1985, to the confusion of pop audiences.       
But with the 1986 release of "Licensed To Ill," hip-hop pushed its way onto rock radio. The songs blasted rock guitar riffs from bands like AC/DC and Led Zeppelin behind the Beastie Boys' cartoon-voiced rhymes about girls, drunken escapades, vandalism and guns. "(You Gotta) Fight for Your Right (To Party!)" became a Top 10 single, and "Licensed to Ill" went on to sell more than nine million copies in the United States. The group toured with a stage set including caged go-go dancers and a 20-foot hydraulic penis.
The Beasties parted ways with Mr. Rubin and Def Jam amid a lawsuit over royalties. On "Paul's Boutique," their first album for Capitol, they worked with the Dust Brothers production team. The results were innovative, densely packed tracks that quick-cut amid rock, funk, jazz and more; meanwhile, the rappers shared the lyrics so thoroughly that all three might rap a word or two in a single line. The album went on to sell two million copies, and musicians inside and outside hip-hop have praised it as a landmark.       
In 1992, the Beastie Boys expanded their ambitions as tastemakers by starting a label, Grand Royal, in association with Capitol. The label released music by, among others, At the Drive-In, Sean Lennon, Atari Teenage Riot and Jimmy Eat World. They also started Grand Royal magazine, which delved into fashion and movies as well as music. But those efforts lost money, and shut down in 2001.       
With their album "Check Your Head" in 1992, the Beastie Boys began featuring their own instruments. They would go on to make an instrumental album, "The Mix-Up," in 2007, which won a Grammy Award.       
While the Beastie Boys' music continued to offer a crunching, squealing good time during the 1990s, the rhymes it carried grew more mature. Vandalism was replaced by constructive thoughts, and offhand sexism was replaced by explicit respect for women. After travels in Tibet and Nepal, Mr. Yauch became a practicing Tibetan Buddhist. On the Beastie Boys' 1994 album, "Ill Communication," he rapped "Bodhisattva Vow," a version of a pledge taken by devout Buddhists, over a hip-hop drumbeat mixed with the deep chanting of Buddhist monks. The Beasties also brought Buddhist monks to perform ceremonies at the 1994 Lollapalooza Festival.       
In 1994 Mr. Yauch started the nonprofit Milarepa Fund, which presented the Tibetan Freedom Concert series to raise awareness of Chinese control of Tibet. The first one, in 1996, drew more than 100,000 people to Golden Gate Park in San Francisco; concerts followed in New York, Washington, Tokyo, Sydney, Amsterdam, Taipei and elsewhere. After Sept. 11, 2001, Milarepa organized New Yorkers Against Violence, offering relief efforts for victims of violence.       
In 1998 he married Dechen Wangdu, who survives him along with their daughter, Tenzin Losel; and his parents, Frances and Noel Yauch.       
Yet onstage and on albums, the Beastie Boys never grew overly serious. Mr. Yauch directed Beastie Boys videos, including "So Whatcha Want," "Intergalactic," "Body Movin' " and "Ch-Check It Out," with a deft touch for slapstick and retro references. He also directed a 2006 documentary made from footage shot by Beasties fans, and a 2008 basketball documentary, "Gunnin' for That No. 1 Spot."       
Mr. Yauch moved into film distribution and production with Oscilloscope Laboratories, operating it like an independent record label where everything was done in-house. Oscilloscope's first releases, small indie films and documentaries, were modest in critical reception and box office, but the company quickly scaled up.       
In 2009 Oscilloscope drew recognition for Oren Moverman's military drama "The Messenger," including Oscar nominations for best original screenplay and best supporting actor (Woody Harrelson). Another Oscar nomination, for the documentary "Exit Through the Gift Shop," followed.
Oscilloscope has continued to release films that often do not shy away from difficult topics, like a Columbine-style killing in "We Need to Talk About Kevin" and the documentary "If a Tree Falls: A Story of the Earth Liberation Front." It also kept a hand in music with documentaries like "Shut Up and Play the Hits," about the band LCD Soundsystem. In his brief film career, Mr. Yauch had the respect of many veteran industry players, earning a reputation for nurturing films and filmmakers that others wouldn't touch.       
After his cancer diagnosis in 2009, Mr. Yauch went under extensive treatment. But he was eventually able to participate in the recording of "Hot Sauce Committee Part Two," which is full of songs celebrating the sound and bygone figures of the 1980s New York City — uptown and downtown — that had nurtured the Beastie Boys.       

Pogledao sam BLACK POND Toma Kingsleya i Will Sharpea, intrigantan ritanski art house film koji nažalost ne funkcioniše kao celina uprkos sporadično kvalitetnim dramskim rešenjima i uglavnom izvanrednom rediteljskom rukopisu kad je reč o vizuelnosti. Plašim se da su Kingsley i Sharpe previše pod uticajem američkog nezavisnog filma i BLACK POND vrca od neke američke ekscentričnosti kakvom se bavio u svoje vreme David O. Russell, recimo.

Otud BLACK POND ostavlja utisak u odnovi negledljivog filma koji je izvanredno vešto i prilično maštovito realizovan. Ove reditelje svakako treba zapamtiti i nadati se da će sledeći put naći neki solidniji materijal.

* * /  * * * *

Ово си, верујем, већ видео кад се појавило пре неки дан на нету. Кул је, па ћу стрпати овде. Општина Мансуд, Пјонгјанг.

Април 2011:



Април 2012:



Нек сад прича ко шта хоће, али код нас реконструкција јебених улица и трамвајских шина траје годину дана. Пожешка, нпр.

Ovo deluje prilično sumnjivo da je niklo za godinu dana. Ne razumem se baš u građevinarstvo, ali mi ne deluje izvodljivo...

Plus što deluje šopovano.

Mada i onaj hotel je delovao tako na nekim slikama, pa je ril dil.

naravno da je moguće.
pazi šta su napravili za 15 dana. kina je čudo.
http://www.geekosystem.com/building-time-lapse/

Пошто већ извесно време пратим Рјугјонг, гледао сам како расту ове зграде у Мансуду. Штос је што је већина фотки настала из оног хотела на ади, заборавих сад како се зове, а Рјугјонг је одмах ту лево. Често би се при фоткању атрактивнијег Рјугјонга, нарочито пошто су током прошле године градили атријум и завршили спољне радове, виделе и ове зграде. Има доста тога на форуму Skyscraper City.

Рецимо, овде се види да су зграде при крају, почетком ове године:



Нема зезања. Зар Служба толико да закаже, стари кадре? 

Pogledao sam GOON Michael Dowsea, hokejašku komediju sa Seann William Scottom koju su napisali komičar Jay Baruchel i ko-scenarista SUPERBADa Evan Goldberg. Ovaj indie film koproduciran sa kanadskim kućama je naišao na velike simpatije ove godine ali nažalost ne može se reći da je išta više do simpatičan. Seann William Scott igra izbacivača koji se ispostavlja kao talentovan goon u hokejaškom timu, igrač čiji je posao da radi prljave poslove, fizički se obračunava, vrši destrukciju igre i potura leđa za talentovanije igrače.

Sin lekara od kojih se očekivalo mnogo, posle otpadničkog života izbacivača, nalazi smisao u hokeju, upoznaje ženu svog života, načetu na neki drugi način, i film ne odlazi mnogo dalje od te osnovne postavke niti je dramski razvija.

Otud je GOON krajnje ravan film, oslonjen isključivo na šarm Seann William Scotta koji u principu može da iznese film ali ne i da ga isplasira do nekih visina. GOON i dobacuje do same margine nečega što bi se moglo smatrati bioskopskim nivoom. Uprkos svojim indie korenima, ipak je reč o filmu koji ne odstupa od forme klasične mejnstrim sportske komedije i čini se da su autori ipak želeli da snime film izvan sistema a onda da se ipak dokopaju bioskopa. Uprkos simpatijama sa kojima je film dočekan, GOON nije ta vrsta senzacije.

* * /  * * * *

Sa određenim zakašnjenjem sam pogledao THE EAGLE Kevina Macdonalda, ekranizaciju omladinskog romana EAGLE OF THE NINTH Rosemary Sutcliff koju je adaptirao Macdonaldov redovni saradnik Jeremy Brock. THE EAGLE je čudan film pošto je s jedne strane vrlo simpatičan i u sebi nosi jednostavnost B-filma, dok s druge u njemu provejava utisak kao da je Macdonald reditelj koji je sklon da stvari šire sagledava. Međutim, kada se sve uzme u obzir, THE EAGLE po mom dubokom uverenju u sebi pre svega nosi ambicije B-filma smeštenog u epohu koja je doduše skoro imala i vrlo skupe reprezente. Ipak, pojednostavljeni odnosi, vrlo direktna priča o prijateljstvu & junaštvu, to sve sugeriše B-pristup.

Otud Macdonaldov dosta uopšten rediteljski postupak ne odgovara ovakvom materijalu koji bi morao da ima više intenziteta i fokusa, naročito jer ima tačan fokus na određeni segment sveta kojim se bavi. Tim pre me je iznenadilo koliko je THE EAGLE zapravo vrlo dinamičan film što se od ovakvog postupka ne bi očekivalo. Posle KING OF SCOTLAND sa kojim je pokazao potencijal, Macdonald je jako podbacio sa STATE OF PLAY i THE EAGLE još uvek nije film u kome se potvrdio ali u njemu se svakako bolje snašao. Reklo bi se da Macdonaldu više odgovaraju priče sa manje dešavanja i da su mu one, paradoksalno, dinamičnije od onih sa više.

U odnosu na CENTURION, THE EAGLE je ipak za čitavu klasu iznad. Iako su u suštini oba naslova B-filmovi, i uprkos tome što bi Marshall po definiciji trebalo da se bolje snalazi u takvim okolnostima, Macdonaldov film je znatno snažniji.

THE EAGLE je slikao Antony Dod Mantle, Boyleov DOGME saradnik i film je prilično zgodno slikan. Budžet i koncept filma nisu dozvoljavali previše vizuelnog spektakla, ali Dod Mantle izvlači dosta iz šuma i gora po kojima su snimali.

U svakom slučaju, THE EAGLE je film sa problemima ali i sa prilično zdravim osnovama.

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A sequel to 2010's "Kick Ass" comic adaptation is moving forward soon, but not in the way that's expected. "Cry Wolf" and "Never Back Down" director Jeff Wadlow has penned a script and will direct the project which aims to begin filming in August says Deadline.

Discussions are just getting underway with original cast members Aaron Johnson, Chloe Moretz and Christopher Mintz-Plasse to reprise their roles. As they weren't signed for sequels, new deals have to be worked out.

The first film was set up at Lionsgate but the rights reverted back to the first film's director Matthew Vaughn who will produce this outing (his "X-Men: First Class" sequel commitments are preventing him from directing). Talks are already underway with Universal Pictures to distribute.

Rebecca Hall is in talks to join the cast of Shane Black's "Iron Man 3" at Marvel Studios and Disney Pictures says Variety.

Hall would play a scientist who plays a pivotal role in the creation of a nanotechnology, known as Extremis, that winds up being sold to terrorists. The story borrows elements from Warren Ellis' six-issue mini-series of the comic which heavily influenced the first film.

Jessica Chastain was previously reported as being attached to the role, but the actress revealed on Monday that scheduling conflicts prevented her from getting onboard. Shooting kicks off this month in North Carolina before moving to China.

Quote from: crippled_avenger on 05-05-2012, 13:01:15
lilit, 8 maj u 18.00h Dom Omladine

najjači utisak mi je branko ilić danas i pre 10 godina. nekako empatišem s njim (majčinski valjda) iako o "planu & programu" otpora ne mislim ništa dobro. gde si krenuo, šta si radio, za šta si se borio, šta su ti ciljevi, etc.
dopao mi se film, s tim što bih, nekako, skratila scene koje prikazuju koliko se BI skrljao. a stavila bih malo veći akcenat i na one koji su se ovajdili od otpora. no, ajde, da ne zakeram.

Koliko shvatam, niko ko se okoristio nije hteo da se slika, ali recimo imaš Nikolu Vujovića kad kaže ono da zažmure pa im priča - to su tehjnike kojim je Otporaše podučavao Srđa Popović, tako da mislim da je taj deo ekipe elaboriran u toj sceni.

Ja moram da priznam da mi je film bio dirljiv jer, iako delim tvoju skepsu prema Otporu, podsetio me je na jedno vreme, čisto generacijski, pošto je BI tu negde mojih godina, godinu-dve stariji i bukvalno svaki događaj koga se u filmu dotiču, vrlo živopisno pamtim.

Meni je ona priča sa Đinđićem i gej paradom potpuni autogol, to mi je suvišno i naivno...

Na premijeri u SC, Branko Ilić je dobio standing ovation, bilo je dirljivo.

Naročito kada imamo u vidu da je on zapravo bio žrtva jednog oportunog koncepta koji mu je prvo stvorio iluzije o samome sebi a onda mu onemogućio čak i da ih elementarno kapitalizuje.

Quote from: crippled_avenger on 09-05-2012, 16:05:54
Naročito kada imamo u vidu da je on zapravo bio žrtva jednog oportunog koncepta koji mu je prvo stvorio iluzije o samome sebi a onda mu onemogućio čak i da ih elementarno kapitalizuje.

Da, to je baš potresno i vrlo lepo pokazano u filmu, ta njegova transformacija iz srećnog naivnog deteta punog ideala u čoveka s velikim problemom.

Btw, jedva čekam recenziju druga Žike, nadam se da će mu empatija proraditi iako ne bih stavila ruku u vatru.

A Srđu Popovića bih tukla po golom dupetu...ne samo zbog BI.

Pogledao sam KDO CHCE ZABIT JESSII? Vaclava Vorličeka, čehoslovačkog reditelja, film u kome se zaista vidi jedan snažan reprezent istočnoevropske fantastike. Ovaj film iz 1966. suprotno očekivanjima od istočnoevropskog SFa nije tvrd SF sa političkim tonovima, sa akcentom na nauku i ideologizovanu metafiziku već vrhunski eskapistički film koji ni po čemu ne zaostaje za američkim filmovima svog vremena. Čak u pojedinim aspektima anticipira neke kasnije filmove.

KDO CHCE ZABIT JESSII? je priča o naučnici koja pronalazi serum sa kojim može da menja snove i ljude učini "ispravnijim" i "produktivnijim" u snu. Međutim, snovi koje eleiminiše počinju da se materijalizuju u stvarnosti. San koji se javlja u stvarnosti i pretvara u glavni košmar jesu junaci iz stripa koji čita njen suprug, inače takođe naučnik u želji da u stvarnosti napravi pulp pronalazak iz stripa.

KDO CHCE ZABIT JESSII? u sebi ima elemente screwball komedije, ali i farse i slapsticka. Zanimljivo je Vorliček sa scenaristom svojih ključnih filmova Milošem Macourekom unosi dosta već definisanog odnosa prema fantastici kao ready madeu, kao temi koja ne samo da zaslužuje pažnju, ne samo da inspiriše priču već se i komentariše.

Zanimljivo je da se iz popularne kulture po Macoureku i Vorličeku može uzeti dosta inspiracije za nauku, pa čak i iz par exellence kapitalističkih formi eskapizma koje se ovde parodiraju u liku "dame u nevolji", superheroja i kauoja koji prelaze iz snova inspirisanih stripom u stvarnost.

Ovaj crno-beli film je izuzetno stilski artikulisan, a Vorličekova upotreba oblačića kroz koje junaci iz stripa iznose svoje djaloge je izvanredan. Isto tako specijalni efekti su vrlo maštoviti i sporadično vrlo lucidno izvedeni, naročito ako imamo u vidu kada je film snimljen.

Veliki deo fantastike snimljene iza Gvozdene zavese može da se gleda samo kao kuriozitet. JESSII je istinski zabavan film i iskeno ga preporučujem. Vorliček je kasnije igradio opus kao reditelj dečjih filmova, fantastike, komedija i ekranizacija bajki. Pokušaću da istražim ima li još neke radove vredne pažnje i da li su dostupni...

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jeste, dobra je DŽESI, a najveći domet tima vorliček i macurek jeste legendarna genijalna serija ARABELA, o kojoj sam davno već piso:
http://ljudska_splacina.com/2009/05/arabela-1979.html

Novi trejleri -

ARGO

http://dobanevinosti.blogspot.com/2012/05/pojavio-se-prvi-trejler-za-argo-novi.html (ko ne zna slučaj ima ga ovde - http://www.politika.rs/rubrike/Pogledi-sa-strane/Nepodnosljiva-lakoca-zavere.sr.html )

GANGSTER SQUAD

http://dobanevinosti.blogspot.com/2012/05/gangster-squad-prvi-trejler.html

Warner spremio zanimljivu jesen...

За Неверне Томе:

Svaka čast!

the avengers je ekstra!

lilit, nemoj me sada uznemiravati takvim provokacijama. Upravo sam se vratio iz bioskopa i pogledao novi Melov film u kome je otišao u Meksiko i pronašao ostatak Alfreda Garcie.

Posle velikog očekivanja, pogledao sam HOW I SPENT MY SUMMER VACATION jedan od povratničkih filmova Mela Gibsona, koji je uz EDGE OF DARKNESS i THE BEAVER trebalo da ga ponovo ustoliči na mesto holivudske zvezde. Bez ikakve sumnje iako su sva tri naslova imala nešto zanimljivo u sebi, HOW I SPENT MY SUMMER VACATION je daleko najintrigantniji kako u svom postupku, tako i po odnosu prema temi i samom Gibsonu.

HOW I SPENT MY SUMMER VACATION se nadovezuje na PAYBACK, to je jedna vrlo bliska koncepcija, međutim, po mnogo čemu je reč o unikatnom radu koji u sebi sadrži ponešto od APOCALYPTOa na nivou postupka. Naime, ovo je prvi Melov glumački film koji nije režiran kao star vehicle. Gibson je u svojoj karijeri imao niz saradnji sa različitim rediteljima, ali je na nivou rediteljskog odnosa prema Gibsonu kao zvezdi i adutu filma uvek bilo jasno kako se Gibson slika, koju poziciju ima u sceni, kada ide njegov psihotični pogled, a kada osmeh. I PAYBACK je jedan od takvih filmova. HOW I SPENT MY SUMMER VACATION je u tom smislu bliži APOCALYPTOu - pored Gibsona koji je prisutan u skoro svim scenama, ravnopravni likovi su sam ambijent zatvora El Pueblito i živopisna galerija kako likova tako i statista koji čine ovaj ambijent jedinstvenim i uzbudljivim. Potrvda Gibsonove harizme je da se i unutar ovakvog koncepta u kome nema direktnog akcenta na njega, bez ikakve sumnje probija kao harizmatična pojava, i ponaša se kao talentovani domaćin koji nas je pozvao na svoju zabavu.

HOW I SPENT MY SUMMER VACATION dakle u sebi ima nešto što liči na konvencionalnog Gibsona ali i nešto što nas podseća na Gibsonove avangardne manevre. Kad je reč o odnosu prema priči, HOW I SPENT MY SUMMER VACATION nikada nije mogao biti studio film. Čudio sam se kada je, pre velikog skandala sa Oksanom, Mel uzeo da radi self-financed film iako je u to vreme imao major naslov u bioskopima i ponude za major filmove, ali zbilja ovo nije film koji bi dobio zeleno svetlo nekog studija - mada sasvim sigurno bi dobio distribuciju da nije bilo skandala. Međutim, isto tako, ovakvih filmova odavno nije bilo u bioskopima.

HOW I SPENT MY SUMMER VACATION ne samo da je hard-R već ima odnos prema ženama i deci koji je u major filmovima potpuno nezamisliv. Štaviše, interesantno je da u PAYBACKu Mel ima mračniji pogled na svet ali događaji nisu ni upola toliko teški kao u HOW I SPENT.

Grunbergov rediteljski koncept (premda ja ne bih odbacio ni to da se Gibson jako mešao u režiju pošto u mnogim intervjuima učesnici u ovoj produkciji govore o snimanju kao da je Gibson o svemu odlučivao i ne pominju Grunberga) ispratio je direktor fotografije Gaspara Noea Benoit Debie i pružio je vrlo atmosferičnu fotku, na tragu Peckinpaha, samo sa dodatnom dimenzijom realizma.

Čini mi se da reference na Tarantina nisu najtačnije, ovaj film je potpuno drugačiji po pristupu a ironija prema žanru proističe više iz samih situacija nego iz odnosa likova i reditelja prema materijalu. Ipak, oseća se nesumnjiv pulp šmek pisaca poput Westlakea kad se potpisuje kao Stark, Elmore Leonarda i Charlesa Willeforda. Isto tako, HOW I SPENT MY SUMMER VACATION ne može da se poredi ni sa Rodriguezom iako se dešava u Meksiku, i ponajviše liči na Peckinpahove filmove i špageti vesterne smeštene tamo.

Šteta je što 20. oktobar više ne radi pošto bi ga trebalo ponovo otvoriti baš zbog ovog filma.

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Rachel McAdams is in negotiations to star in Richard Curtis' fantastical feel-good rom-com "About Time" says The Hollywood Reporter.

The story follows a man (Domhnall Gleeson) with the ability to travel back in time who eventually meets the girl of his dreams. McAdams takes over a role which previously had Zooey Deschanel attached to star in.

Bill Nighy, Tom Hollander, Margot Robbie, Lydia Wilson and Vanessa Kirby are set to co-star. Curtis ("Love Actually") also penned the script and shooting kicks off in June in London.

Tim Bevan, Eric Fellner, Liza Chasin and Amelia Granger are producing.

Once wrapped, McAdams will shoot Anton Corbijn's new thriller "Most Wanted Man" which begins filming in September.

Catherine Zeta-Jones ("Chicago," "The Mask of Zorro") and Byung-hun Lee ("G.I. Joe: Retaliation," "I Saw the Devil") are joining the cast of Dean Parisot's upcoming action-comedy sequel "Red 2" at Summit-Lionsgate.

Bruce Willis, John Malkovich, Mary-Louise Parker, and Helen Mirren are all confirmed to be returning in the follow-up in which the retired CIA operatives use their old-school style to take on a new set of enemies all across Europe. Erich Hoeber and Jon Hoeber are returning to pen the script.

Lorenzo di Bonaventura and Mark Vahradian will produce and an August 2nd 2013 release has been set.

Stari plakat Preokreta. Posle su odlučili da bude ljubičast...

Заборавио си да окачиш други део, где се објашњава шта би било кад би Србија постала руска губернија совјетска република.



Додуше, тај део је претрпео извесне козметичке измене. Пошто се од грађаноида не очекује детаљније познавање географије, процењено је да би "монголска бујица" збуњивало својом херметичношћу, па је замењено синтагмом "азијатске хорде".

Johne, prosledio sam ti na mejl mali companion piece kad pogledaš novog Mela.

Pogledao sam DARK SHADOWS Tim Burtona. Posle skoro deset godina, Burton je snimio film koji ima smisla. Još od SLEEPY HOLLOW i BIG FISH, on nije snimio film koji sam uspeo da izdržim do kraja, a ako neki i jesam, to je bilo pod prisilom. DARK SHADOWS ga u određenom smislu vraća korenima i idiosinkratičnim likovima za koje poublika nekako može da se veže, a ceo sudar kultura daje ovom filmu suštinski zamajac i uzdiže ga u odnosu na nivo cirkusa na kome Burton operiše u poslednje vreme.

Mislim da je od pojave Christopher Leeja, preko zapleta do same godine u kojoj se film dešava i susreta drevnog vampira sa simbolima kontrakulture osnovna referenca za razumevanje DARK SHADOWSa Alan Gibsonov DRACULA AD 1972. U određenom smislu, rekao bih da je Gibsonov film gotovo pa zvanična referenca, kao uostalom i sama serija iz 1966. koju je Burton rimejkovao.

Glumačka ekipa je izvanredna. Depp je dobio lik koji odgovara njegovoj šmirantskoj seriji. Michelle Pfeiffer je kod Burtona već ostvarila jednu nezaboravnu ulogu i u ovoj nudi nešto novo. Chloe Moretz je takođe sjajna i sada nema nikakve sumnje da će ona u kontinuitetu pružati dobre uloge i verovatno postati zvezda, a Eva Green uspeva da parira Deppu.

Osnovni problem filma ostaje scenario, i to ne na planu onoga što je Seth Grahame-Smith ostvario u scenariju koliko na planu priče koju su koncipirali on i John August. Film ima problem strukture, sama nit priče i pojedini likovi se gube, i gegovi vrlo često uzimaju primat nad narativnom. Otud dobro postavljen sukob nije kapitalizovan u dovoljnoj meri.

Srećom, strukturalni nedostaci ne remete previše ugođaj u filmu jer u njemu ima šta da se vidi - i to ne samo u vezi sa Burtonovim već očekivanim dizajnerskim bravurama već i na nivou karaktera i humora. DARK SHADOWS je zato film u kome je Burton potvrdio svoju klasu i vratio se u formu zbog koje je i postao veliko ime. Videćemo da li će usled nepogode AVENGERSa blagajne nagraditi njegov povratak na pravi put. Nažalost, postoji mogućnost da sticajem okolnosti Burtonov najbolji film u poslednje vreme najslabije prođe.

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Pogledao sam TV dramu DARE I WEEP, DARE I MOURN koju je po priči John le Carrea, u adaptaciji iskusnog Stanley Manna, režirao Ted Kotcheff. Ova priča se bavi miljeom koji le Carre izvrsno poznaje - reč je o tenzijama između Zapadnog i Istočnog Berlina. Priča se razvija maltene kao neki šarmantan srednjeevropski film - preplašeni čovek sa Zapada odlazi na Istok da prenese očev leš. Kada dođe tamo, čeka ga iznenađenje- otac nije mrtav već je vitalniji od njega i želi da prebegne...

U jednom trenutku špijunska intriga zauzme malo prostora ali Kotcheff i Mann se drže ljudske drame koju James Mason u glavnoj ulozi izuzetno dobro kanališe. Kotcheff rediteljski uspeva da vrlo doro proda preokret kojim se priča razrešava i na svim nivoima pokazuje da će izrasti u prvoklasnog shootera. DARE I WEEP, DARE I MOURN je izuzetno vešto režiran TV rad i prevazilazi standarde, i to ne samo svog vremena.

Stari Kadar piše o švedskim serijama, ali kao i uvek, to je zapravo samo još jedna priča o godinama raspleta.

http://www.citymagazine.rs/page.php?id=3621

Although short in stature, Danny DeVito is brimming with talent – and not just in acting. Reports suggest that DeVito has finished filming for his upcoming apocalyptic thriller.

Although untitled, we do know that the plot focuses on the lives of a nurse and her two patients – a wounded murderer and a police officer. As war wages outside, the three characters make up only a handful of people locked inside a hospital. As the action builds, the trio are split up and have to find each other – and in the process discover the real reason they've been forced together in the first place. William Fichtner (PRISON BREAK, ENTOURAGE), Lance Reddick (LAW & ORDER, THE WIRE) and Constance Zimmer (ENTOURAGE, BOSTON LEGAL) star and DeVito has picked three very talented and experienced actors to work with (and it would be an honour to work with him too!)

DeVito has been quoted commenting on the news, saying is was 'exciting' getting behind the camera and he enjoyed the challenge of working on a new genre.

Having worked in the business for over 40 years, DeVito is more then capable of producing something brilliant, whether he's directing or acting in the project. It's also good to see him stepping away from comedy and testing the waters in something a little darker.

The as-yet-untitled project, directed by Danny DeVito, is currently in post-production.

Pogledao sam TV film PHILBY, BURGESS AND MACLEAN u režiji Gordon Flemynga, po scenariju iskusnog Ian Curteisa. Dosara očekivao od ove Granadine produkcij o slučaju Cambridge Spiesa. Nažalost, ovaj TV film je potpuno neupotrebljiv za sve one koji nisu prilično ozbiljno upućeni u ovaj slučaj. Naročito je zanimljivo to da u ovom filmu niko ne pominje Blunta. Očigledno je Blunt u to vreme bio tabu-tema.

BBC je ovaj slučaj sagledavao iz više uglova, od serije CAMBRIDGE SPIES kao najnovijeg i najpotpunijeg prikaza te afere preko Schlesingerovog diptiha na tu temu, do drame BLUNT sa Ian Richardsonom. U svim ovim ekranizacijama Burgess je dobijao najsrdačniji tretman jer on u osnovi i jeste najtragičnija figura i najteže je poneo odlazak iz Engleske. Između ostalih igrali su ga Derek Jacobi, Anthony Hopkins, Alan Bates i Tom Hollander. Hollander je, rekao bih, najsentimentalnije odigrao Burgessa - tretirajući ga kao veliko dete - a Jacobi kod Flemynga nudi sočnu i vrlo žilavu interpretaciju.

Flemyngova režija je sigurna, sa par vrlo hrabrih rešenja. Ipak, on kao pripovedač ne uspeva da pojasni tekst Ian Curteisa. Otud ovaj TV film treba ostaviti za kraj upoznavanja sa ovim slučajem.

Pogledao sam prošlogodišnju katalonsku SF melodramu EVA Kike Mailloa, u kojoj Daniel Bruehl nastavlja svoju laganu tranziciju iz Nemačke u Španiju. Maillo je snimio visokoestetizovan, vrhunski dizajniran film koji se nadovezuje na Aldissa i Spielbergov AI, smeštajući pronalazak veštačke inteligencije i kiborga koji zamenjuju ljude u savremene okolnosti. Film se vrlo elegantno dotiče tehnologije i Maillo nudi vrlo maštovite i solidno realizovane specijalne efekte, ali u osnovi, EVA je melodrama i "ljudski faktor" ima glavnu reč, čak i onda kada su ljudi zapravo androidi.

Bruehl se pokazao kao odličan leading man, nepretenciozno je uspeo da se pokaže kao ubedljiv razbarušeni naučnik a ostatak glumačke ekipe je izvanredan, naročito devojčica Claudia Vega u glavnoj ulozi.

EVA je pšogodak u pravom španskom stilu. Nema ovde sad materijala za neki veliki film ali Maillo izvlači maksimum iz jedne skoro pa rutinske premise.

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