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

Paul Verhoeven je 1 od glavnih razloga što militantno podržavam ljudsko kloniranje: retko prođe 7 dana a da za neki film ne pomislim 'Eh, ala bi OVO bilo dobro da ga samo Mr V. režira!'
Naučno je dokazano da Mr V. ne ume, pa sve da mu život od toga zavisi, da snimi negledljiv film, kao što je Milosh već nagovestio.
A HAUNTING je abortus kolosalnih razmera posle koga je trebalo da DE BONTU zauvek zabrane da 'režira' i vrate ga da snima tuđe filmove, što je uostalom najbolje i radio do tada.

Renny Harlin will direct the action thriller "Run," set to begin shooting in Rome in October. 'Run' will feature some of the most complex car-chase scenes to hit the cinema in years" said one of the production representatives. The film tells the story of a rookie Interpol agent who pulls over an unsuspecting motorist for a traffic violation in Rome, triggering an unrelenting car chase that catapults the city into chaos..."

David Cronenberg, who is in Cannes with his In Competition film "A History of Violence," will next direct "Painkillers," a futuristic thriller says The Hollywood Reporter.

Producer Robert Lantos and Cronenberg confirmed the project on Friday, which has been in development for several years. Based on Cronenberg's first original screenplay in eight years, "Painkillers" is budgeted at $35 million and is being readied for release in late 2006.

The futuristic "Painkillers" follows a detective who is sent undercover to save humanity in a world where surgery is sex and pain is pleasure. The film has been budgeted at $35 million, the largest of any Cronenberg pic.

Uni picks up De Palma's 'Black Dahlia'

CANNES -- In the first big North American sale at Cannes this year, Universal Pictures has picked up distribution rights to director Brian De Palma's $60 million 1940s crime thriller "The Black Dahlia," starring Josh Hartnett, Scarlett Johansson, Aaron Eckhart and Hilary Swank. Universal paid between $10 million-$15 million, according to sources. After visiting the Bulgaria set en route to Cannes, Universal vice chairman Marc Shmuger became convinced that the film "was vintage De Palma material like 'The Untouchables,' " he said. "I was wowed by everything I saw. It's a rare opportunity to find a project with such great talent and a masterful story, self-financed and available. The director, the cast, the key departments that they put together are extraordinary." Based on the 1987 James Ellroy murder mystery, "Black Dahlia" stars Hartnett and Eckhart as two boxers-turned-cops who become obsessed with finding the brutal killer of ingenue Elizabeth Short, aka "Black Dahlia." (Anne Thompson)

JOŠ 1 MUST HAVE DVD!

THE FLY


• Audio commentary by Cronenberg
• Fear of the Flesh, a four-part documentary
• Five deleted scenes, including an alternate ending
• 17 branching featurettes
• Five test-footage segments
• Six written works including George Langelaan's original short story, Charles Edward Pogue's original screenplay and Cronenberg's rewrite
• Six trailers
• Three TV spots
• EPK featurette
• Poster and lobby card gallery
• Behind-the-scenes still galleries
• Two Easter eggs

Here's what you get with THE FLY II:

• Audio commentary by Walas and film historian Bob Burns
• Deleted scene
• Alternate ending
• The Fly Papers: The Buzz on Hollywood's Scariest Insect documentary
• Transformations: Looking Back at THE FLY II documentary
• Chris Walas Inc. video production journal
• Composer's Master Class featurette with Christopher Young
• Storyboard-to-film comparisons
• Original theatrical EPK
• Production gallery
• Storyboard/art galleries
• Theatrical trailers

Whew! Retail price will be $19.98 for each.

jos samo dva dana do Dark Water  

i jos samo 9 dana do Charlie and the Chocolate Factory  

Chocolate Jennifer: Kao tamna voda za čokoladnu fabriku

WOW! VINCENZO NATALI & J.G. BALLARD!!

http://www.imdb.com/title/tt0462335/combined

kao da nije dovoljno što FINCHER radi film o ZODIAC KILLERU, nego je još morao da uzme GARY OLD MANA za 1 od glavnijeh uloga!

drooolll!

me wantss it NOW!

(šta, još nisu ni počeli da ga snimaju? DAMN!   =

Quote from: "Ghoul"me wantss it NOW!

me too!  

a mozda se Craven povadi sa Crvenookim
+
juce videh jos jedan dobar trejler koji obecava: Flightplan  

Mike Newell ("Donnie Brasco", "Four Weddings and a Funeral") will direct an untitled Western set in post-revolution Mexico and written by "Apocalypse Now" scribe John Milius reports Variety.

The story follows a Native American ex-Marine bounty hunter sent to recover the missing horse of a rich American's mistress. Newell's currently at the helm of Warner Bros.' upcoming "Harry Potter and the Goblet of Fire".

It was set up at Universal for years under the name "Wanted: Dead or Alive" (no relation to the Steve McQueen series) and the studio still has "changed elements" rights that enable it to hop on board as a distributor once casting is in place.

Respect to director Bryan Singer. Sources in
   Sydney say that so far he's slept with eight
   personal trainers at top health club City Gym
   while filming Superman.

Shelved when Arnold Schwarzenegger was elected governor of California, Warner Bros.-based producer Jerry Weintraub's remake of "Westworld" is now a go again reports Variety. "The Cell" director Tarsem Singh is set to helm, Schwarzenegger's reps insist he's not involved with the project at this point. There is no screenplay or writer yet attached.

Meanwhile, Director Billy Gerber ("The Dukes of Hazzard") is remaking the 1975 film "The Yakuza" for Warner Bros. Pictures says The Hollywood Reporter. It will be written by Oliver Butcher and Stephen Cornwell. "Yakuza" was directed and produced by Sydney Pollack and starred Robert Mitchum as a man who returns to Japan after a lengthy absence to rescue a friend's kidnapped daughter, ensuing in samurai swords slashing and guns blazing. It was written by Paul Schrader and Robert Towne.

DreamWorks is close to acquiring the film rights to Tom Clancy's videogame "Splinter Cell," with Daniel Pyne ("The Manchurian Candidate") attached to write the script. Studio would take the project over from Paramount, where it was originally set up last winter. 'Cell' follows the adventures of government spy Sam Fisher as he's dispatched to infiltrate an international terrorist syndicate and stop a high-tech threat..."

British director Tony Kaye, who became persona non grata in Hollywood after waging war with New Line over "American History X," is set to helm indie thriller "Paranoia." "Paranoia" concerns a top ad agency exec who comes to work on a Friday only to learn it's actually Sunday and she's a suspect in a murder case. She tries to reconstruct the two lost days from clues found in her handbag, with the storyline culminating in a "Sixth Sense"-like twist. Jon Land wrote the screenplay

Quote from: "crippled_avenger"Respect to director Bryan Singer. Sources in
   Sydney say that so far he's slept with eight
   personal trainers at top health club City Gym
   while filming Superman.

Iz eng. texta nije jasno kog su pola ti 'treneri' – jer, kolko se sećam, taj Singer beše Gay Singer, jel tako?  

Da,tako je ali chovek mozda moze i da iznenadi-ne zaboravimo da prichamo o bliskom rodjaku Lori SINGER(koja je igrala u 'FOOTLOOSE',a pri tom je vrhunska violonchelistkinja(otud i ona epizoda kod Carvera&Altmana u 'SHORT CUTS') i Marca SINGERA(znanog iz THE BEASTMASTER,ali i softcore uradaka Jima WYNORSKOG(tipa BODY CHEMISTRY),koji je poput sestre,klasichno obrazovan muzichar(violina,a (bio) je chlan chikashke filharmonije,paralelno sa svojim B/C  podvizima);ali i o choveku koji je od 'PUBLIC ACCESS' stigao do X MEN!!!

   podvedimo ovaj moj post kao napad trivije uz pun stomak!

                      FORGIVE!!!!!!!!!!!!!!!!!!!!!!

          -I DID IT AGAIN...

Ovaj klinac je novi DEMIJAN u OMEN rimejku...

Sigh!

Loše, loše...

Dakako, muskarci. Covek je bre imao molestation charges jer je mnogo meracio decake na snimanju tus scene u APT PUPIL...

Universal is planning a 9/11 movie, the second major studio film about the terrorist events (Paramount's pic directed by Oliver Stone is currently in pre-production) reports Variety.

Director Paul Greengrass ("The Bourne Supremacy") has set an October start date for "Flight 93". Universal's $15 million film will be 90 minutes long and cover the flight in real time. It begins with the takeoff and hijacking of United Airlines Flight 93 by terrorists, the discovery by passengers with cell phones that other hijacked planes had been steered into the World Trade Center towers, and the realization that their plane was being steered toward D.C. Pic culminates in the decision by passengers to sacrifice their lives to bring the plane down. Flight 93 crashed in Pennsylvania.

"Flight 93" will be partly improvised with an ensemble cast, and Greengrass will use handheld cameras and other stylized techniques to give the film a gritty feel. A 40-day shoot is expected to begin October 1st. While there is no timetable for the film's release, one scenario would be to submit it to the Cannes Film Festival in 2006 and release it shortly after.

Scottish hunk Gerard Butler has signed on to star in "300," the adaptation of the Frank Miller graphic novel that Zack Snyder is directing for Warner Bros. Pictures says The Hollywood Reporter.

The film centers around the famous Battle of Thermopylae and tells the true story of 300 elite Spartan warriors led by their fearless king, Leonidas (Butler), who manage to hold off the charge of Xerxes and his million man Persian army for several days with one of the most famous battle strategies in history.

The studio is looking to make the film in the style of the graphic novel and so heavy use of greenscreen and hyper-real virtual sets is being mapped out but with an eye toward maintaining the look. Shooting begins October 17th in Montreal.

Hey folks, Harry here with genuine "Cool News"! Ya know - I've done my fair share of praising of the Austin Film Society and the Texas Filmmaker's Production fund... But I've never seen any of its money go to a filmmaker I personally knew - and knew what a difference it would make. Intellectually - I know that their grants keep filmmakers alive through the process, allow film stock to be developed, finance entire documentaries... I get it, totally behind it... But still, I never saw the money touch anyone that I knew that was a scrape & save filmmakers - it did, it always went to the absolute most worthy folks... but most of the food stamp film freaks I know - use their food stamps for Karo Syrup and Red Dye #5 and Hershey Syrup and flour and oatmeal - the building blocks of low budget horror. Oven latex baking. Truly the most wonderful world of low low low no budget film. Pure joy of filmmaking.
Well - this year, as in every year - I get the Austin Film Society's TEXAS FILMMAKER'S PRODUCTION fund press release and I do what I do every year... I skip down to the list to see who in the state of Texas got the Fairy Godmother Grant (as I call it). This year, more than in previous years - I saw people who I knew. Kyle Henry - got into Cannes this year, Kat Candler - made a wonderful film a few years back and recently got the mayor of Austin to leap off a bridge here - seriously. And Emily Hagins. WHAT?!!!?
PATHOGEN - EMILY HAGINS... 90 Minute Narrative - $1000 Production / Post-Production / Distribution???!?!?!?!?!?! WHAT?!?!?!
I started smiling like a crazy monkey boy. Actual tears came out of my eyes, I was so happy. You see - Emily Hagins is a 12 year old girl. I first met her when she was 9 at my Saturday Morning Kids Clubs that I host. She was at first - that crazy girl that loved LORD OF THE RINGS. I first heard her name - when her mother sent me a letter she had received from Peter Jackson - that suggested that she contact his friend Harry Knowles in Austin. Emily was intoxicated with film. Started shooting little video films - I really had a blast taking a look at them and giving her advice. And she listened. Then her mom wrote me - saying that Emily wanted to go to BUTT-NUMB-A-THON 5 more than anything else on the planet Earth. Knowing that Peter Jackson was scheduled to attend BNAT 5 - I knew she'd love it - but... BNAT is not for children - and at age 10 - Emily - well I don't program BNAT for kids. I warned her mother of the sort of imagery that might be on screen - and if she as a responsible parent was willing and ready to handle that sort of subject matter with her child - then by golly - welcome, but I also warned her - that this festival would complete warp her sweet little girl. It would open up a Pandora's Box of badass other side of the tracks films that Emily had never been exposed to.
Oddly - while she loved films like RETURN OF THE KING, OLDBOY, Buster Keaton's THE GENERAL, PASSION OF THE CHRIST and the other films of the fest... it was the Spierig Brother's low-budget Aussie Zombie film that wormed it's way into her noggin. This was... her first zombie film. She started renting zombie films at my sister's video store, PEDAZO CHUNK... Sister Satan being the strict moralist was providing zombie films for Emily's unending thirst. Next thing I know - I'm hearing that Emily is writing a feature length zombie film script that she wants to direct as her next project. That summer - she wanted to enter into a film school for kids, but she was still too young - Her mom again asked me for advice. There was this place up in Dallas she could go, but it was too expensive - and Emily's family was having severe financial difficulties at the time. Hearing that Emily was infected with the horror film bug - I hooked her up as an intern on some friend of mine's low low low budget indie suspense flick - ORGANIC - which is still in post-production. I figured, she'd learn more from a group of low budget filmmakers that love horror in a gleeful innocently evil way. She wound up shooting the behind the scenes documentary for the film - as well as helping with Continuity. At like 10-11. Then this year she shot PATHOGEN. For her birthday - Dad and I gave her TONS of make-up. Not young pre-teen make-up... but horror make-up. Couple hundred bucks worth of the stuff - that was our "grant" for Emily's film. Nearly everyone in Austin that I know is somehow touched by this film and is used in it. My nephew is a zombie child in it. Massawyrm causes the zombie-armageddon through his typical incompetence. Annette Kellerman is the scientist that develops the virus. My brother-in-law is a scientist/doctor of some type. My sis is in it, and one of the main characters is named after her. I provide a radio voice for the film. The wrap-party was last Saturday at Pedazo Chunk where she debuted a trailer to the cheers of all.
But this TEXAS FILMMAKERS' PRODUCTION FUND didn't stop there. As you probably are aware - this is a remarkable little girl. Who has the concentration at age 10-11 to write a feature length Zombie script. That's 90 pages of text created from her wee noggin. And a pair of documentary filmmakers thought so too - they decided to shoot a documentary they call ZOMBIE GIRL on the now 12 year old Emily Hagins. Well that documentary ALSO got a small grant from the Texas Filmmakers Production Fund.
I just got off the phone with young Emily to congratulate her and she sounded as though - Santa, the Easter Bunny, Jack Skellington and the Tooth Fairy all showed up to help her with her movie. "I just started back a school yesterday, and like, the teachers were all, if you're not exactly perfectly behaved we'll TASER you... well, not really, but when I heard about the grant, I was jumping up and down and it just makes going back to school better, ya know?" Yes, I do.
There's film production funds all over the world - support yours - you'll never know when it'll touch a dreamer you know with the help they need to make their dreams come true. This is soo cool!

EL LABERINTO DEL FAUNO je letos usao u produkciju i snimanje je pocelo, a evo ga ovde i tizer poster koji izgleda predivno: http://www.deltorofilms.com/featured_pix/panlogo.jpg

Uu bre, Miki, to mi je mesecima krasilo desktop, dok ga, pre mesec dana, nisam promenio.

Paul Giamatti and Monica Bellucci are in negotiations to join Clive Owen in New Line Cinema's "Shoot 'Em Up," a hard-core action project from screenwriter-director Michael Davis says Reuters.

The story begins with a woman having a baby during a shootout. The man who delivers the baby, called simply Mr. Smith (Owen), is entrusted with protecting it from an army of gunmen.

Giamatti would play the villain who wants the baby dead, and Bellucci would be Owen's love interest. Don Murphy, Susan Montford and Rick Benattar are producing.


Screen Gems and Lakeshore have set Renny Harlin to direct supernatural thriller "The Covenant." J.S. Cardone's script follows a mysterious stranger at an exclusive prep school. Sebastian Stan, Steven Strait, Toby Hemingway and Chace Crawford star; production begins in Montreal October 4th.

Daniel Craig has boarded Warner Bros. Pictures' "Invasion," directed by Oliver Hirschbiegel says The Hollywood Reporter. Joel Silver is producing the Nicole Kidman sci-fi thriller began as a remake of "Invasion of the Body Snatchers", but the script is being seen as different enough to tag it as an 'original'.

The story is set after a mysterious epidemic alters the behavior of human beings, a Washington psychiatrist (Kidman) discovers that its origins are extraterrestrial. She must fight to protect her son, who might hold the key to stopping the invasion.

Craig plays Kidman's colleague and love interest who teams up with her to help save her son from being overtaken by the aliens. Lensing begins next month.

Filming begins this week on "The Good Shepherd," starring Matt Damon ("The Bourne Identity," Academy Award(R) winner for "Good Will Hunting"), Angelina Jolie ("Mr. & Mrs. Smith," Academy Award(R) winner for "Girl, Interrupted"), and directed by Academy Award(R)-winning actor Robert De Niro ("Raging Bull," "A Bronx Tale," "Meet the Fockers"). Written by Eric Roth (Academy Award(R) winner for "Forrest Gump" and nominee for "The Insider"), "The Good Shepherd" is the story of the tumultuous early years of the Central Intelligence Agency as viewed through the prism of one man's life.

Starring in this epic drama set in the high stakes world of espionage, Matt Damon plays Edward Wilson, an exceptionally bright and talented son of privilege who is recruited from the campus of Yale University to join the Office of Strategic Services, the precursor to the CIA, at the beginning of World War II. Wilson's acute mind, spotless reputation and sincere belief in American values render him a prime candidate for a career in intelligence, as do his deeply embedded commitment to honor and quite secretive nature. As Wilson becomes a veteran operative in counter-intelligence during the Cold War, not even his wife Clover, played by Angelina Jolie, nor his beloved son Edward Jr., can divert him from a path that will force him to sacrifice everything in service to his country.

Robert De Niro also stars as General Bill Sullivan, the U.S. Army official who hand picks Wilson for the career in intelligence that will shape the world's political landscape. "The Good Shepherd" features a supporting cast that includes Academy Award(R) winner William Hurt ("Kiss of the Spider Woman," "The Village"), John Turturro ("O Brother, Where Art Thou?"; "Barton Fink"), Billy Crudup ("Almost Famous," "Big Fish"), Emmy Award winner Tammy Blanchard ("Life with Judy Garland"), Michael Gambon ("Gosford Park," "Harry Potter and the Prisoner of Azbakan"), Alec Baldwin ("The Aviator," "Glengarry Glen Ross"), Academy Award(R) winner Timothy Hutton ("Ordinary People," "Kinsey"), Keir Dullea ("2001: A Space Odyssey"), as well as up-and-coming young actors Eddie Redmayne, Lee Pace and Gabriel Macht.

"The Good Shepherd" is produced by James G. Robinson for Morgan Creek Productions and by Robert De Niro and Jane Rosenthal for Tribeca Productions. Guy McElwaine, Francis Ford Coppola, David Robinson and Chris Brigham serve as executive producers. The film is a Morgan Creek and Tribeca Production and will be released by Universal Pictures domestically, with Morgan Creek handling international rights.

The film's behind-the-scenes team includes Academy Award(R)-winning cinematographer Robert Richardson ("The Aviator," "JFK"), Academy Award(R)- winning costume designer Ann Roth ("The English Patient," "The Hours"), Oscar(R)-nominated production designer Jeannine Oppewall ("Seabiscuit," "LA Confidential") and editor Tariq Anwar (Academy Award(R) nominee for "American Beauty").

The Good Shepherd will be filmed in New York City, Washington D.C., London and the Dominican Republic.

The Dark

 
  Allan Hunter in Edinburgh 24 August 2005 16:20
 


Dir: John Fawcett. UK. 2005. 92mins

A promising supernatural thriller never quite comes to the boil in The Dark. The latest feature from Ginger Snaps director John Fawcett blends together the intriguing ingredients of a pagan religion, a remote coastal location, the power of a mother's love and the scorn of an injured child but it is ultimately too convoluted and frustrating for its own good. Genre fans who gave modest support to Dark Water and The Skeleton Key will provide the core audience for a film that has little chance to break-out to a wider constituency.

Currently enjoying a strong run of roles in The Cooler, Silver City and A History Of Violence, Maria Bello stars as New Yorker Adele. Ashamed of the way she has treated her daughter Sarah (Stuckey), she accompanies her on a visit to the girl's father James (Bean). He now lives in a remote farm on the Welsh coast.

Fifty years ago, the area was home to a strange religious sect that ended in a mass clifftop suicide. When Sarah disappears and is believed to have drowned, Adele remains certain that she is still alive. Investigating the events of the past gives her an insight into what is required of her if her daughter is to return.

Fawcett managed to inject fresh blood into the werewolf story in Ginger Snaps by placing the focus on a teenage girl and her burgeoning sexuality.

There is a similar although less successful attempt to do something different here. The emphasis is on atmosphere rather than gore and the main interest is in what the film reveals about the strained relationship between the mother and daughter rather than any shock revelations about events in the 1950s.

The film also betrays the influence of recent Asian chillers like The Ring and Dark Water in its use of ghostly, menacing figures and fascination with child abuse and fractured family relationships. There is also more than a hint of The Wicker Man in the isolated setting, local customs, a flock of decidedly sinister sheep who later prove lethal and the presence of an enigmatic resident who knows more than he is letting on, a part fulfilled here by Maurice Roeves as handyman Dafydd.

The influences may be of interest to genre fans but the storyline doesn't have the clarity nor emotional intensity that captures the general viewer and the end seems especially lame.

The glow of a coal fire or the piercing beam of a torch provide the kind of lighting choices that lend the tale a wintry darkness and Fawcett creates a saturated, almost monochrome other world as Adele goes to battle for her child's future.

Struggling through storms, crashing waves and other hardships, Bello is up to the physical challenges of the role and makes the angry, guilt-ridden mother far from saintly as flashbacks provide glimpses of insight into what has led to the deterioration of relations with her daughter.

It is refreshing to see Bean play something other than the bad guy but he is very much the supporting figure as the father that Sarah turns to for love and reassurance.

Production company
Impact Pictures

International sales
IS Film

Producers
Paul W S Anderson
Jeremy Bolt
Robert Kulzer

Screenplay
Stephen Massicotte
Paul Tamasy
based on the novel Sheep by Simon Maginn

Cinematography
Christian Sebaldt

Production design
Eve Stewart

Editor
Chris Gill

Music
Edmund Butt

Main cast
Maria Bello
Sean Bean
Sophie Stuckey
Maurice Roeves
Abigail Stone
Richard Elfyn

Bernard Rose is signing on for some "Amusement." Marking his first studio pic in nearly a decade, the "Immortal Beloved" and "Candyman" helmer has been tapped to direct the New Line horror pic. With Rose on board, "Amusement" is now skedded to start production early next year. Jake Wade Wall script is told from the points-of-view of three different women who are made to suffer by a killer using their childhood grudge against them..."

Cutting Moments" director Douglas Buck revealed to Horror Channel this week that things are going well in regards to the remake of Brian DePalma's "Sisters", originally starring Margot Kidder as twin sisters. A reporter is brought to Galactica to document the military life during wartime after criticism of the military reaches a fever pitch.

Buck says they're scheduled to start shooting in February in New Orleans, and both Asia Argento and David Cronenberg have agreed to appear in it. Nothing's been officially signed as of yet, but Buck was confident it would all come through. A reporter is brought to Galactica to document the military life during wartime after criticism of the military reaches a fever pitch.

Cronenberg's role, his first since 2001's Jason X, is said to be more of a glorified cameo than anything else.

Jim Carrey is in early talks to team with Ben Stiller and play obsolete pleasure clones in "Used Guys," a comedy to be directed by Jay Roach ("Meet the Parents", "Austin Powers") for 20th Century Fox reports Variety.

Scripted by David Guion and Michael Handelman from an original script by Mickey Birnbaum, the futuristic "Used Guys" is set in a world where women run the Earth. Men became extinct because they ingested an enhancement drink that proved fatal.

Carrey and Stiller will play clones rendered obsolete by superior models whose enhancements include better listening and lovemaking skills. The scorned clones make a run for it, bent on regaining their dignity by searching for a male nirvana known as Mantopia.

Stiller and Roach have been plotting this picture for several years. The emergence of Carrey as Stiller's co-star has propelled the film toward a Spring start of production target.

Quote from: "crippled_avenger"they're scheduled to start shooting in February in New Orleans,

Kao što već rekoh u prvom reagovanju na ovu vest, na SP:

u Nju Orleansu?

kako stvari stoje, bolje bi bilo da tamo snimaju rimejk SPLIT SECONDA!  

Ili remix verziju SCG "Lavirinta"???        

...mada,sve je u redu dok nekom studio executive smartass-u ne padne na pamet da USED GUYS  remixuje u nove CAT PEOPLE-mislim,gotovo,sve je tu-New Orleans,usta Jima Crreyja imaju pribliznu elastichnost usta Nasstasje Kinski,Ben Stiller je srodne visine sa Malcolmom McDowellom...od fake srpske legende do do hommo gross out pop-corn smehotresa nije ipak tako dalek put!    

Quote from: "ginger toxiqo 2 gafotas"Ili remix verziju SCG "Lavirinta"???        

Hmmm, nije loše.
Asia bi mogla da prođe kao 2nd rate Maja Sabljić, a Cronenberg bi bio Ristovski-wannabe! (mada, pošto potonji ima cameo, možda će morati da mu ispod košulje naguraju 2-3 jastuka kako bi 'postao' onaj zadrigli Josif Tatić!)
GREAT!  

Pokusacu da pomirim gingera i Ghoula-Tony Maylam da radi rimejk LAVIRINTA? I, naravno, moj favorit Ian Sharp da bude tu negde ako sta zaskripi.

Inace, LAVIRINT i ONCE UPON A TIME IN AMERICA imaju najludju deformaciju glavnog junaka. Kod Leonea se Jenny Connelly deformise u Elizabeth McGovern a kod Lekica, celavi (ali wigged) Dejan Lutkic u Dragana Nikolica (prolepsao se) i Gordan Kicic u Josifa Tatica (bez komentara).

...ali LAVIRINT je ochiti primer krshenja autorskih pravila-na shpici chak ni pod oznakom 'cameo' ili extras' nije navedena razalovana perika Shabana Shaulica koju u filmu rabi Dejan Lutkic...
zelim da verujem u mogucnost stalnih promena,ali kako su(i dalje govorim o 'Lavirintu'!) usne(ovo je kanda pochetak moje oralne opsesije !) Ane Stefanovic(one sirotice koja je bila zrtva/akterka nichim izazvane scene tushiranja in the nude na otvorenom u 'Ona voli Zvezdu'!) izmutirala u neverending usne Maje 12martovic???

ginger, zvanicno sam se zaljubio u tebe.

mislim da ce mi se i mama obradovati kad cuje. uosatlom, nikada nije zavolela Ghoula...

ti si jedini covek koji pamti taj nicim izazvani full frontal u cumezu gde obitava Srba Dzakovic. inace, u ideoloskom smislu, paradoksalno, ONA VOLI ZVEZDU jeste svakako jedan od `najispravnijih` filmova vidjenih na nasim postorima! u njemu se hvale ideali sporta, igranja za voljeni klub i reprezentaciju i povrh svega obrazovanje se nesumnjivo pretpostavlja sportu, sto recimo nema u KOSARKASIMA (iako je ta serija imala ogromn moralizatorske i vaspitne pretenzije).

ruku na srce, najludja transformacije vidjena u stvarnom zivotu jeste transformacija Josifa Tatica u ovo sto je danas. on je u mladosti bio jedan od najmuzevnijih nasih glumaca i njegov raspad je veliki gubitak za nas film i pozoriste...

Quote from: "crippled_avenger"ruku na srce, najludja transformacije vidjena u stvarnom zivotu jeste transformacija Josifa Tatica u ovo sto je danas. on je u mladosti bio jedan od najmuzevnijih nasih glumaca i njegov raspad je veliki gubitak za nas film i pozoriste...

Ja se ne sećam da sam ga gledao u nekoj normalnoj ulozi ili nečemu što je odglumio. Meni je on uvek isti, samo izgovara drugačiji tekst i uvek neuverljivo. Možda je izuzetak ona prva Šovinistička farsa, ali to sam gledao još onda. Gledao sam ga i u pozorištu, ali i tamo je isti.

(ovo me podsetilo da sam jednom, izmedju gomile ostalih, hteo da pokrenem topik o pozorišnoj publici, iz ugla jednog laika. Mislim, jako retko idem u pozorište, ali osim jedne kako se to zove - izvodjenje veče pre premijere, publika u pozorištu se uvek smeje psovkama i samo psovkama. Ulazi glumac na scenu i kaže "Gde si, jebem li ti mater?" i publika u smeh; pa onda ozbiljan neki dijalog, i neko od glumaca kaže "ma puši bre kurac" - i publika opet u smeh. pa majku mu)

Ako ćemo već o 'najludjim transformacijama vidjenim u stvarnom zivotu' –a budući da Tatića ne pamtim kao išta nalik normalnom čoveku- ja glasam za Petra Božovića! Ej, pogledaj LEPTIRICU da vidiš kaki je to delija bio! Muž i po! A sad – arhetipska crnogorska mrcina koja svoju stomačinu mora kolicima da gura ispred sebe!

U ženskom svetu, prvo što mi pada među domaćim glumicama je Gorica Popović. E bre, ona je bila vrlo fina jedna ženica, kao mlađa. Zaokrugljena onako ženski, ali podnošljivo. 'Jebežljiva', reko bi neko. A danas... LELE! NILSKA KOBILA!

Quote from: "Ghoul"U ženskom svetu, prvo što mi pada među domaćim glumicama je Gorica Popović. E bre, ona je bila vrlo fina jedna ženica, kao mlađa. Zaokrugljena onako ženski, ali podnošljivo. 'Jebežljiva', reko bi neko. A danas... LELE! NILSKA KOBILA!

Nemoj tako o mojoj komsinici!

kad su bili mladi, kao nasi daleko najlepsi glumci slovili su Milan Gutovic i Danilo Lazovic!

Pera Bozovic je sjajno izgledao za te rural tipove. ipak, njega je izdala kosa jos dok je bio mlad...

inace, razlog zbog koga beskrajno postujem Lurda jeste prica da je na nekom slavlju fizicki nasrnuo na jednog naseg pozorisnog poslenika, sto bih ja takodje ucinio da sam malo fizicki razvijeniji. zato Lurd ne moze da me naljuti! eh, da, naravno, i zato sto mi je spasao zivot za Novu godinu!

Quote from: "crippled_avenger"
inace, razlog zbog koga beskrajno postujem Lurda jeste prica da je na nekom slavlju fizicki nasrnuo na jednog naseg pozorisnog poslenika, sto bih ja takodje ucinio da sam malo fizicki razvijeniji. zato Lurd ne moze da me naljuti! eh, da, naravno, i zato sto mi je spasao zivot za Novu godinu!

hocu detalje. javnost ima pravo da zna!

Hm. Ovako, cripple, ja u javnosti volim da recitujem, ponekad da pevam, da zabavljam društvo, pravim budalu od sebe ili i od sebe i od drugih, a ostale stvari koje ne spadaju pod to u javnosti radim iz nužde, jer je takva situacija.

Drugo, ta osoba mi jeste beskonačno antipatična i njen rad smatram odvratnim i mislim i da je pozer i šminker. Ali uvek se trudim da pridjem bez predrasude, pa je tako bilo i taj put. Medjutim, kreten ostaje kreten, a tribina uvek ostaje u genima, a tad sam bio i manji, pa nisam znao da se kontrolišem.

Nisam zaista fizički nasrnuo na njega, nego posle kraće prozivke (šta je bilo, bre! ma šta 'oćeš) nije smeo da izadje napolje da to odmah rešimo, nego je pozvao taksi i otišao.

I to sve može da zvuči lepo i zanimljivo u javnosti, ali nije. Nasilje nije lepo, nasilan karakter nije lep. Ja se godinama intenzivno borim protiv toga i to mi je bio major breakthrough što ga nisam odmah nabo, ali opet je ružno. Ružno je što je bio lep povod za slavlje, što je bilo u kući njegove devojke, koja mi je skroz simpatična, ružno je što nisam rekao "ma baš si odličan" i batalio to.

Svi su me posle hvalili i svima je to simpatično, ali, jebi ga, druže, ne želim da me ljudi gotive kao osobu koja se kačila sa idiotom.

No, dobro, bilo je javno mesto, gomila javnih ličnosti, pa eto. Ide priča. Šta se može.

Lurd, ne opravdam nasilje. Samo pozdravljam taj konkretan slucaj. I ponosim se sto te poznajem. Inace, znam jednog vrlo, vrlo, miroljubivog coveka, koji se, verujem, nije potukao ni u osnovnoj skoli,  koga je ovaj naveo na slican gest!

Dir: Takashi Miike. Jap. 2005. 124mins.
Announcing the production of the $30m The Great Goblin War last September, Kadokawa Group chairman Tsuguhiko Kadokawa said the film would "rival Harry Potter and Lord Of The Rings in its worldwide appeal".

To make its chairman's words a reality, Kadokawa hired Takashi Miike, a director best known for his full-frontal plunges into depravity, madness and general weirdness such as Audition and Ichi The Killer. It's as if Disney hired David Lynch to make a live-action version of Snow White, in which Grumpy inhales a suspicious gaseous substance through a plastic mask.

Miike, however, has been making mainstream films for some time now, including family-friendly superhero spoof Zebraman. The result is a blenderisation and Japanisation of the Harry Potter and Lord Of The Rings films in which its central protagonist learns the usual lessons about courage and friendship.

Yet despite falling far short of the hyperbole, The Great Goblin War is a natural for overseas fantasy film fans, especially ones with a taste for the genre's Asian variations - a large and growing cohort. In Japan it has been a solid hit with children, teens and young adults, grossing $14.6m in the first three weeks since its Aug 6 release. The film plays out of competition at Venice before heading for Toronto.

Takashi (Ryunosuke Kamiki) is a modern-day city kid living in the countryside with his divorced mother (Kaho Minami) and semi-senile grandfather (Bunta Sugawara). Timid and lonely, Takashi is miserable until a festival dancer in a Chinese dragon costume chooses him to be a Kirin Rider - a traditional fighter for peace and justice.

This, his friends tell him, is not a pretend title, but the real deal. His mission: climb a nearby mountain and claim a magical sword from its resident Great Goblin. As night falls, he boards a mysterious bus up the mountain and finds, at his feet a strange cat-like creature - the first and most harmless of the many goblins he will meet.

Meanwhile, evil is abroad, unleashed by the wizard Kato (Estushi Toyokawa). Using discarded machinery and the power of a vengeful spirit called Yomotsumono, he turns once harmless goblins into mechanical minions who wreak havoc on the human world.

He is assisted by a female goblin (Chiaki Kurimyama) with a beehive hairdo and a mean whip hand. Takashi opposes this pair with his yokai allies including one who resembles a Ninja Turtle (Sadao Abe) and one who looks like a long-haired samurai dipped in red dye (Masaomi Kondo).

Miike tells it all with an energy and invention bordering on the manic, as well as characteristic touches of black humour, but he can't disguise its derivative nature.

The Japanese goblins or yokai - come in a wide range of shapes, sizes and features - are more on the cuddly than scary side. The principal ones are also both eccentrically individual and impeccably traditional, as though they'd stepped out of an old woodblock print - or a comic by film advisor Shigeru Mizuki, whose classic series Gegege No Kitaro made yokai popular with a mass readership.

Western fans of Hayao Miyazaki's hit animation Spirited Away will notice similarities in character designs - though Miike's are more grotesque, Miyazaki's more freeform.

He and his effects people create a funny/creepy phantasmagoric world that is distinctively Miike, though the animatronics and CG are a tad retro by Hollywood standards (think Gremlins and the crowd scenes in Gladiator).

Also, his attempts to build tension and suspense are less than inspired. Attitude, not talent, is the problem: Miike can't help winking at his material - and deflating his story in the process.

Keeping the movie from becoming a campy cartoon is star Ryunosuke Kamiki. A 12-year-old prodigy, he possesses a natural vivacity and thoroughly professional acting chops, keeping the film on track, even when his director has an impish urge to derail it.

The ending, following a titanic CG battle, leaves an obvious opening for a sequel.

Production companies
Kadokawa Pictures
Japan Film Fund
Nippon Television Network

International sales
Kadokawa Pictures

Japanese distribution
Shochiku

Executive producer
Kazuo Kuroi

Producers
Shigeru Mizuki
Hiroshi Aramata
Natsuhiko Kyogoku
Miyuki Miyabe

Screenplay
Takashi Miike
Mitsuhiko Sawamura
Yoshihiko Itakura

Cinematography
Hideo Yamamoto

Production design
Nao Sasaki

Editor
Yasushi Shimamura

Music
Koji Endo

Main cast
Ryunosuke Kamiki
Etsushi Toyokawa
Chiaki Kuriyama
Sadao Abe
Bunta Sugawara

Lee Marshall in Venice 31 August 2005
 


Dir: Tsui Hark. HK-Chi-S Kor. 2005. 152mins.

Hong Kong auteur Tsui Hark's most ambitious film to date, Seven Swords makes for an energetic Venice curtain-raiser after the dreary plod of last year's The Terminal.

The director has talked up Seven Swords as the Saving Private Ryan of martial arts films, of a return to basics and focus on realism.

It's true that that there is less blatant wirework and CG magical realism than Asian action fans have grown used to of late, eschewing rooftop flights or bamboo grove choreography for the clang of metal on metal and the sheer effort of lifting a heavy bronze blade.

But if this is a martial arts revolution then it's a timid one. There was at least as much battle grit and sweat in Kill Bill – on one level a parody of the genre – as there is in Hark's irony-free piece.

The title's nod at Seven Samurai is unfortunate, as the character development, structural cohesion and moral complexity of Kurosawa's masterpiece are altogether lacking in this confusing story.

Continued success in the Asian market looks assured following its release earlier this summer. It has become the biggest release this year in China, taking more than $10m, while box office in Hong Kong has been good at just under $1m.

Outside Asia, Hark's period martial extravaganza is unlikely to break out into the mainstream to the level of say Crouching Tiger, Hidden Dragon, which took more than $210m worldwide and was nominated for 10 Oscars, or Hero, which enjoyed receipts of $175m-plus worldwide.

Sales so far include Village Roadshow (Australia), Pathe/DES (France), Sandrew Metronome (Scandinavia), Medusa (Italy), Contender (UK) and Universuum (Germany), with others expected during the autumn festival season (Seven Swords plays Toronto after Venice).

Hark sets his feature in 17th-century north-western China, where one plucky village holds out against an army of merciless bounty hunters who make a living from enforcing an imperial edict banning martial arts. Their defence comes in the form of seven warriors with seven swords, each with different characteristics.

Led by a punkette general, and wearing face-paint out of Mad Max, the villains – who have names like Dagger Point or Trout In The Mud – are all surface, as they should be.

The only rounded character – indeed of the film as a whole – is chief villain Fire Wind (Sun Honglei); an unstable, tic-ridden, world-weary baddie, as if the Yul Brynner of The King & I had morphed into the Marlon Brando of Apocalypse Now.

In comparison the heroes are so hastily sketched that audiences need a crib sheet to sort them out. Asian audiences will be watching the stars (some of whom, like Lu Yi and Leon Yai, have a crossover music career) and may find the choppy syntax of the film less distracting.

Beyond that, anyone coming out of this film with a clear idea of the properties of each of the seven swords, their names, and the main traits of the heroes that wield them, deserves a prize.

The best advice is not to worry too much about the who, why or what and concentrate instead on the bravura action sequences – including an instant classic wall-climbing fight in a narrow corridor – and Keung Kwok-man's moody monochrome cinematography.

This works hand in hand with art director Eddy Wong's atmospheric set design, that owes more to fantasy adventures than faithful historical epic.

Grey, yellow and red are the dominant colours, often isolated and juxtaposed: as in a scene near the beginning where the red of pennants, lanterns and blood stand out against a black-and-white background.

As with the Lord Of The Rings films, the production uses real locations – scattered around China's remote Xinjiang province, setting of the original novel by Liang Yu-shen – to evoke a world that is recognisably of this earth, but at one remove from reality.

Of the three major settings, the most striking is Da Ma Ying, site of Fire Wind's half-ruined fortress: rising from the sands of the Gobi desert, this is a place of mythical resonance, evoking lost empires, Tamburlaine and Alexander the Great. It is altogether a fitting home for Fire Wind, a degraded philosopher prince surrounded by drunken, brutish foot-soldiers.

Production company
Film Workshop Co

Co-production companies
Beijing Ciwen Film & TV Production Co
Boram Entertainment
City Glory Pictures

Hong Kong distribution
Mandarin Films Distribution

International sales
Fortissimo Films

Executive producers
Raymond Wong
Hong Bong-chul
Zhang Yong

Producers
Tsui Hark
Lee Joo-ick
Ma Zhongjun
Pan Zhizhong

Screenplay
Tsui Hark
Cheung Chi-sing
Chun Tin-nam
based on the novel by Liang Yu-sheng

Cinematography
Keung Kwok-man

Production design
Eddy Wong

Editor
Angie Lam

Action choreographer
Stephen Tung
Xiong Xinxin

Costume designer
Poon Wing-yan

Music
Kenji Kawai

Main cast
Donnie Yen
Leon Lai
Charlie Young
Sun Honglei
Lu Yi
Kim So-yeun
Lau Kar-leung
Tai laiwu
Duncan Chow

ANTIBODIES



razlozi za anticipaciju nalaze se OVDE:
http://www.twitchfilm.net/archives/003401.html#more

DA SAM NEŠTO SAD U TORONTU, EVO ŠTA BIH GLEDO NA TAMOŠNJEM FESTIVALU:

+-Tideland, the real Terry Gilliam film this year

-Steve Martin meets a Shopgirl;

-the Brothers Quay give that live action thing another try in The Piano Tuner of Earthquakes

-Luc Besson's production team mixes up a crazy martial arts take on Escape from New York (with a dash of The Warriors thrown in) in Banlieue 13.

-Pusher, With Blood On My Hands: Pusher II, and I'm the Angel of Death: Pusher III

+-Neil Jordan returns to his crazy Butcher Boy territory with Breakfast on Pluto

-Brothers of the Head is a mockumentary (based on a Brian Aldiss novel) about siamese twin punk rockers;

-Evil Aliens drops in for Midnight Madness

+-Lars von Trier's Manderlay

-Abel Ferrara spits at Mel Gibson with Mary;

-biotech nightmare in Isolation

+-Another year, another great work from Michael Haneke. This year it's Cache

-John Hillcoat (director of Ghosts... of the Civil Dead) reteams with Nick Cave for The Proposition

-Richard E. Grant tries his hand behind the camera with Wah-Wah

-Bangkok Loco

-The Duelist is a South Korean distaff detective period piece with crazy-go-nuts anime-esque sword fights;

-The District!, Hungary's answer to Matt & Trey and Ralph Bakshi

+-Francois Ozon's Le Temps qui rests, starring the incomparable Jeanne Moreau;

+-Thomas Vinterberg tackles a Lars von Trier script about gun culture with Dear Wendy;

+-Park Chan-wook brings the pain in Sympathy for Lady Vengeance;

-Takashi Miike -a bit of genre-bending mayhem called The Great Yokai War

-Eli Roth and his latest bit of grue, Hostel

+-David Cronenberg's A History of Violence


KO ĆE DA SE KLADI KOLIKO OD OVOGA ĆE IGRATI NA POGLEDU U SVET ILI FESTU?

MY BET: 8 (UKUPNO) – TO SU OVI SA + ISPRED

Lee Marshall in Venice 07 September 2005
 


Dirs: Mike Johnson, Tim Burton. UK. 2005. 75mins.

The first stop-motion feature directed (in part) by Tim Burton - he produced and wrote The Nightmare Before Christmas - Corpse Bride brings the Hollywood fantasist's dark and fertile imagination to bear on a hugely entertaining macabre love story.

Like the two Shrek movies, the film has a fairytale backbone – in this case, a Russian folk tale about a hapless bridegroom's unwitting betrothal to a bride from beyond the grave. But the original fable is no more than a starting point for a darkly comic stand-off between the dead and the living, which has its eye on irony-demanding parents as much as their kids.

With its ravishing, neo-Dickensian visual style and a method of conveying stop-motion facial expressions that is unprecedented, Corpse Bride should satisfy audiences spoiled by the almost infinite possibilities of 3-D CG animation. The star voice cast, with several Burton regaulrs, will give an edge to Warner's release campaign – as well as pepping up the DVD extras.

After its out of competition premiere at Venice, Corpse Bride honeymoons in Toronto before its US release on Sept 15.

The story revolves around an arranged marriage between the timid Victoria Everglot (Watson) and even more timid Victor Van Dort (Depp) – who, bucking the cliches, actually discover they quite like each other.

Both have overbearing, and unbearable, parents: the Van Dorts (voiced with satirical brio by Tracey Ullman and Paul Whitehouse) are nouveau-riche canned fish merchants, while Lord and Lady Everglot (Albert Finney and Joanna Lumley) are fastidious but hard-up aristocrats, forced by economic necessity to marry their daughter into new money.

Fluffing his wedding rehearsal, a despondent Victor wanders into a dark wood, where he finally gets the betrothal formula right – and discovers he's just got hitched to the Corpse Bride (Bonham Carter) of the title.

The above-ground tow, inhabited by the living characters, is an unplaceable amalgam of London Victoriana and Eastern European medieval architecture (a similar meld of styles was used by Japanese animator Hayao Miyazaki in Howl's Moving Castle), bathed in dreary tints of sepia and grey. Its inhabitants are dusty, cowed, mechanical – while the Land of the Dead is a vibrant, colourful place whose rotting, skeletal denizens have learnt to cast off their inhibitions and have a good time.

It's here that Mike Johnson, Tim Burton and their design team really let their imaginations run riot. A wild, jazzed-up dance of the dead is the most expressionist thing in commercial animation since the drunken dream sequence in Dumbo, and the gallery of caricatures has Burton's usual macabre edge – almost as if German Expressionist painter George Grosz had landed a job as a House Of Mouse animator.

Visual gags abound, with plenty of comic mileage from all those "love you to death" metaphors that exist (fortunately for the dubbers and subtitlers) in pretty much every language.

The soundtrack, by long-time Burton collaborator Danny Elfman, veers from atmospheric heavenly choir and tolling bell stuff to hipcat Mondo Bongo jazz.

But though the sideshows sometimes threaten to overwhelm the main story, Corpse Bride has a good deal more dramatic coherence than The Nightmare Before Christmas. One of the most intriguing things about the film's emotional mechanism is the way that it allows us to sympathise with both brides, the dead and the living, and to want happy endings for each.

Production companies
Tim Burton Animation Company
Warner Bros
Laika Entertainment
Will Vinton Studios

US distribution
Warner Brothers

International distribution
Warner Brothers pictures International

Executive producer
Jeffrey Auerbach

Producers
Tim Burton
Allison Abbate

Screenplay
John August
Caroline Thompson
Pamela Pettler

Cinematography
Pete Kozachik

Production design
Alex McDowell

Editor
Jonathan Lucas
Chris Lebenzon

Music
Danny Elfman

Main voice cast
Johnny Depp
Helena Bonham Carter
Emily Watson
Albert Finney
Joanna Lumley
Tracey Ullman
Paul Whitehouse

qt 6 lineup

Friday Night - Secret Agent Night

THE SPY WITH MY FACE 35mm
1965. Directed by John Newland and starring Robert Vaughn, David McCallum and Senta Berger.

THE VENETIAN AFFAIR 35mm
1967. Directed by Jerry Thorpe and starring Robert Vaughn, Elke Sommer and Boris Karloff.

Midnight Movie

SHAME OF THE JUNGLE 35mm
1975 Directed by Picha & Boris Szulzinger
Animated, featuring the voices of John Belushi and Bill Murray

Saturday Night - All Night '80s Horror Marathon

It is what it sounds like - a full night of 80s horror, featuring titles so terrifying that Quentin won't even let us tell you what he plans on showing!

Sunday Night - Australian Night

"BMX Bandits", 35mm
1983. Directed by Brian Trenchard-Smith and starring Nicole Kidman.

"Four Desperate Men", 16mm
1959. Directed by Harry Watt.

"Riptide" 16mm TV show
1969. Directed by Ty Hardin.

"Dark Age" 35mm
1987. Directed by Arch Nicholson and starring John Jarratt.

Monday Night - Documentary Night

"A Cry In The Wild" 16mm
1973. Directed by Bill Mason.

"Blue Water, White Death" 35mm
1971. Directed by Peter Gimbel & James Lipscomb.

Tuesday Night - World War II Epic Night

"Five For Hell" 35mm
1969. Directed by Gianfranco Parolini and starring John Garko, Klaus Kinski and Margaret Lee.

"From Hell To Victory" 35mm
1979. Directed by Umberto Lenzi and starring George Peppard, George Hamilton and Horst Buchhol.

Wed. Night - Italian Crime Films Of The 70s

DEATH RAGE 35mm
1976. Directed by Antonio Margheriti and starring Yul Brynner and Barbara Bouchet.

NO WAY OUT aka BIG GUNS 35mm
1973. Directed by Duccio Tessari and starring Alain Delon, Richard Conte and Rosalba Neri.

As a special MIDNIGHT feature we are presenting

THE SELL-OUT 35mm
1976. Directed by Peter Collinson and starring Oliver Reed, Richard Widmark and Gayle Hunnicutt.

Thursday Night - Sexploitation Night

HAY COUNTRY SWINGERS 35mm
1971. Directed by Alois Brummer.

TEENAGE HITCHHIKERS 35mm
1975. Directed by Gerri Sedley.

HOT SUMMER IN THE CITY 35mm
1976. Directed by Gail Palmer
XXX Rated

Friday Night - Grindhouse Triple Feature

CRACK HOUSE 35mm
1976. Directed by Micheal Fischa and starring Jim Brown and Richard Roundtree.

THE DIRTY OUTLAWS 35mm
1967. Directed by Franco Rossetti.

As a special MIDNIGHT feature we are presenting:

FISTFUL OF TALONS 35mm
1983. Directed by Chung Sun and starring Billy Chong.

Saturday Night - QT Fest VI - Encore Night

Quentin Tarantino and The Austin Film Society present QT 6 ENCORE NIGHT in which we celebrate the best films from the previous nights.

Quote from: "crippled_avenger"
the film has a fairytale backbone – in this case, a Russian folk tale about a hapless bridegroom's unwitting betrothal to a bride from beyond the grave.

jedva cekam da pogledam ovaj film, a inace me ta pocetna ideja za koju pise da je iz ruske bajke, podseca na jednu od prica u poljskom filmu "Kytice", samo sto je tamo mlada ziva, a mladozenja mrtav.