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

Quote from: Ghoul on 29-08-2012, 11:43:01
Dimitrije Vojnov CRIP-SHOW (1): We have cinemas

http://ljudska_splacina.com/2012/08/dimitrije-vojnov-crip-show-1-we-have.html

Daj, jebote, koji ti je kurac?! Mislim, šta ovo znači?! Pomogni mi, pokušavam da ukapiram... 

Provedeš vrijeme kopajući za nekim prastarim tekstovima i onda pokušavaš da ispaneš faca tako što ćeš im se podsmijavati? I ne samo to, već ćeš autora i lično da prozivaš. Daj odrasti!

Alo, čovječe, ti si doktor, ti bi trebalo da budeš pedagog sjutra. Sa ovakvim forama ispadaš faca samo šabanima u poslednjoj klupi.

od jednog pedagoga poput tebe ne bih očekivao takav diskurs.
ne priliči ti takav jezik, sa 'jebote' 'kurcima' itd.
šta ako neki tvoj učenik vidi ovo gore?
zar to priliči jednom akademskom građaninu koji drugome pridikuje o tome šta priliči akademskom građaninu?

lične prozivke ne postoje u mom textu, to ti se nešto prividelo.
ne postoji ni podsmevanje.
ni pokušaji da se ispadne 'faca'.
sve su to konstrukcije.

u pratećem textu lepo piše 'čemu ovo'.

poziv da 'odrastem' od strane ljubitelja marvelovog univerzuma zaista nalazim smešnim.

no, pretpostavljam da si ti još jedan od onih koji će da se vade na mladost jednom kad im neko iskopa neke gluposti koje su pisali... pod uslovom da ih ikad prerasteš, naravno. 

GOD BLESS! 

ovo je dno dna. sramota.

zlobno, nisko, maliciozno.
a ako ti to ne vidiš, onda ima i dodatnih objašnjenja koja nisu prijatna.

Quote from: lilit_depp on 30-08-2012, 07:41:46
ovo je dno dna. sramota.

god bless to you, too! 

Da li je slučajnost što si taj tekst postovao baš na Kriplov rođendan (najiskrenije se izvinjavam Kriplu ako sam rekla nešto što ne treba)?

Quote from: angel011 on 30-08-2012, 13:41:45
Da li je slučajnost što si taj tekst postovao baš na Kriplov rođendan

jeste.
mada, kad sam guglajući fotke otkrio taj detalj, prepoznao sam u tome Znak Božji.

god bless.

ovaj još nije završio?

Toronto 2012: Ryan Gosling to Make Directing Debut With 'How to Catch a Monster'
by Pamela McClintock
The actor will helm the fantasy noir from a screenplay he wrote; Christina Hendricks is attached to star.

Ryan Gosling will make his feature directorial and writing debut with How to Catch a Monster, which Sierra Affinity will shop to foreign buyers during the Toronto International Film Festival.

Christina Hendricks -- who starred with Gosling in Drive -- is attached to headline the fantasy noir, which Gosling wrote.

Gosling will produce via his Phantasma banner alongside Marc Platt and Adam Siegel of Marc Platt Productions and Michel Litvak and David Lancaster via Bold Films, which is financing Catch a Monster.

"I am very appreciative to Marc Platt, Adam Siegel and Bold Films for being so supportive, and I look forward to making this film with all of them," Gosling said.

Principal photography is set to start in the spring. Sierra/Affinity is handling international sales.

Catch a Monster weaves elements of fantasy noir with suspense to create a modern fairy tale set against the surreal dreamscape of a vanishing city. Hendricks (Mad Men) would play Billy, a single mother of two who is swept into a macabre underworld, while her teenage son discovers a secret road leading to a underwater town.

"We have a tremendous amount of trust and confidence in Ryan, Christina, Marc and Adam, both personally and professionally," Litvak said. "We responded immediately to Ryan's script and look forward to nurturing the next phase of his career and continuing Bold's commitment to an artistically collaborative environment."

Catch a Monster isn't the only project that Gosling will be attending to in Toronto. Derek Cianfrance's The Place Beyond the Pines, headlining the actor, makes its world premiere at the festival. Bradley Cooper and Eva Mendes also star in the film, which reunites Gosling with his Blue Valentine director.

Gosling is represented by IFA Talent Agency and Carolyn Govers; Hendricks is represented by CAA and Kritzer Levine Wilkins Griffin Nilon.

Pogledao sam THE COLD LIGHT OF DAY Mabrouka El Mechrija koga znamo kao reditelja filma JCVD. El Mechri je svoj holivudski debi snimio u Španiji, sa američkim glumcima u pokušaju da isporuči ovogodišnji TAKEN. Nažalost THE COLD LIGHT OF DAY nema tu energiju TAKENa i jednostavnost koja je učinila taj film značajnim fenomenom. Međutim, isto tako, moram da priznam da je THE COLD LIGHT OF DAY jedan od uspešnijih primera srednjebudžetnog akcionog filma u kome se spajaju evropski novac, lokacije i američki glumci.

Britanac Henry Cavill, novi Supermen je odličan i harizmatičan u ulozi mladog poslovnog čoveka čiju porodicu otimaju enigmatični operativci jer njegov otac zapravo nije kulturni ataše već agent CIAe.

On mi se dopao i u IMMORTALSima a ovde radi sa još i manje intrigantnim materijalom a odlično se snalazi. Film pokreće u saradnji sa Bruce Willisom a sukobljava se sa Sigurney Weaver, dakle nije sam, ali je nesumnjivo njemu prepušten noseći lik. Cavillu je ovde dopušteno i da krši zakone fizike ali on bez ikakve sumnje ima fizionomiju akcionog heroja i u takvim situacijama je prilično ubedljiv. Doduše, na nivou samog filma mislim da je sporno to koliko se junak od ekonomiste-atlete brzo prilagodi da bude borac.

El Mechri ne raspolaže velikim budžetom ali film donosi nekoliko izvanrednih akcionih scena sa posebnim akcentom na filnale.

THE COLD LIGHT OF DAY nema kapacitet da bude veliko akciono iznenađenje ove sezone ali nema nikakve sumnje da je reč o vešto napravljenom B-filmu koji ima svoje mesto za ljubitelje & poznavaoce.

* * *  / * * * *

Кул, нотирано!

Quote from: Ghoul on 30-08-2012, 07:17:30
poziv da 'odrastem' od strane ljubitelja marvelovog univerzuma zaista nalazim smešnim.

no, pretpostavljam da si ti još jedan od onih koji će da se vade na mladost jednom kad im neko iskopa neke gluposti koje su pisali... pod uslovom da ih ikad prerasteš, naravno. 

GOD BLESS! 

Ovaj "pedagog" reaguje u šoku, na forumu, pod nickom. Pretpostavljam da i moji studenti reaguju koristeći "jebote" kad se nađu u sličnoj situaciji. Međutim, ovaj nazovi pedagog ne čeprka po netu s najmerom da pokaže kako je neko prije deset godina bio manje bolji nego što je sada. (S druge strane, ja ni ne vidim što je toliko strašno u tekstu koji si naveo!)

Tebi neke stvari treba crtati, indeedy. Kad ti kažem da odrasteš, ne mislim da batališ čitanje horor proze i "Hellboya", već da malo poradiš na društvenoj inteligenciji. To je odrastanje.

Što se tiče gluposti koje sam ja pisao, ne moraš da kopaš po mojoj mladosti. Prije par mjeseci sam napisao glupost, i nekoliko mjeseci prije toga, kao i godinu prije toga. Vidiš, za razliku od tebe koji si sa 15 godina pisao genijalne tekstove, ostatak svijeta uči na greškama. Pokušavaju da budu bolji svakog dana. Valjda je i to odrastanje.

Will hoće da kaže da neodraslim ne čini čoveka ono što čovek čita nego ono što čovek piše 

Quote from: Meho Krljic on 30-08-2012, 16:32:09
Will hoće da kaže da neodraslim ne čini čoveka ono što čovek čita nego ono što čovek piše 

god bless! 

ja u stvari ne mogu da verujem šta ti sebi dopuštaš.

a tek mi je neshvaljivo da ne razumeš na koliko je nivoa sve to pogrešno.

eee, a kada se samo setimo kako je kripl branio gula na sarajlijinom topiku...

nemojmo sad preterivati.

pa ne znam, ja to kao nezainteresovani posmatrač.

Branio je principe    Ali to na stranu, nadam se da i Gul shvata da ovo ovde nije grupica Krplovih drugara koja ga organizovano brani već grupica Gulovih drugara koja je iznenađena da on radi nešto za šta oni misle da je ispod (njegovog) nivoa.

kad neko pomene principe, mašim se za... oh, well. ne vredi.

niti sam ja koga napao, niti je ko mene branio.

ko to ne vidi, ne vidi ništa.

i toliko o tome, ne smarajte više, drveni advokati.
još će neko pomisliti da je kriplu (ili meni) potrebna vaša 'zaštita'!

ništa, ništa, sad ćemo da iskopamo one pesmice što je gul piso u mladosti, da uporedimo ko je smešniji... 

ajde, Gule, svi željno iščekujemo CRIP-SHOW (2), bez ličnih motiva i neskrivenih pobuda

ti si kao bolji

ja se ne pravim da nemam najgore motive u odnosu prema tebi, zar ne?

Vidite, ovo je jedan od retkih topika na koji volim da odem da naučim nešto što ne znam jer ne mogu sve da pratim.
Molim vas da svoja prepucavanja nastavite na nekom drugom mestu...
Ako je cripple odlučio da ne odgovara, nema zaista potrebe da produžavate diskusiju.

Quote from: Meho Krljic on 30-08-2012, 18:46:27
Branio je principe    Ali to na stranu, nadam se da i Gul shvata da ovo ovde nije grupica Krplovih drugara koja ga organizovano brani već grupica Gulovih drugara koja je iznenađena da on radi nešto za šta oni misle da je ispod (njegovog) nivoa.

Iznenađena!?

Hyde Park on Hudson: Telluride Review
9:00 PM PDT 8/31/2012 by Todd McCarthy

The Bottom Line

A refined treat that nonetheless will appeal to a wide audience.
Opens

Friday, Dec. 7 (Focus Features)
Venues

Telluride, Toronto, New York film festivals
Director

Roger Michell
Bill Murray shines as FDR in a keenly observed look at the weekend King George VI came to visit.

Bill Murray as FDR? It takes a few minutes to get used to but once he settles into the role of the 32nd president, the idiosyncratic comic actor does a wonderfully jaunty job of it in Hyde Park on Hudson, a seriocomic look at an eventful weekend at the chief executive's country estate as well as at his unusual domestic arrangement. With Britain's King George VI playing an important part in the proceedings as a house guest, audiences will be no doubt be encouraged to think of this classy, mildly ribald slice of biographical arcania as this season's The King's Speech, bolstered by the fact that both leaders had to deal with physical impairments. Reflecting a time when the intimate secrets of our leaders could truly be securely kept from the public, this Focus Features holiday release seems eminently promotable as a refined treat that's nonetheless palatable to a wide audience.
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Although decorously staged and tidily written in the manner of many films and television shows about the historical high and mighty, this contribution to 20th century costume drama ventures waist-deep into vaguely queasy territory by exploring, however gingerly, Franklin Roosevelt's multiple menage that was either hidden, or ignored, in plain sight under the roof he shared with his wife and mother.

Screenwriter Richard Nelson, who wrote the 1993 film of Ethan Frome and won a Tony as author of the book for the musical James Joyce's The Dead, doesn't consistently find the precise register in which to address the president's indiscretions, especially in the narration of the latest addition to the little brood, Margaret "Daisy" Suckley. A plain, intelligent spinster (47 years old in real life at the time) and a sixth cousin to FDR, whom she hasn't seen in years, Daisy is surprised to be summoned to Springwood, the Roosevelt family estate in Hyde Park, N.Y. In due course, she confides that, "I helped him forget the weight of the world," which is one way of passing along the news that she is expected to pleasure the polio-stricken president on occasion, something his wife, Eleanor (Olivia Williams, wonderful), is long since over and done with.

VIDEO: Bill Murray Announces Hologram Plans on 'Late Show'

Whether this was actually the role of the real Daisy, who is self-effacingly played with prim dignity and a tinge of bitterness by Laura Linney, remains questionable even today. But for dramatic purposes she here joins another middle-aged confidante, Roosevelt's secretary and possible intimate, Marguerite "Missy" LeHand (Elizabeth Marvel), as well as Eleanor and her circle, whom FDR cheerfully calls "she-men." In the event, it's a bright and lively group the boss has assembled around him to keep things running, help him relax and, psychologically, ensure that he'll always be the center of attention.

Before long, Daisy's position in the compactly conceived scenario recedes to give way to the main event, the royal visit to Hyde Park at the invitation of Roosevelt. Immortalized two years ago by Colin Firth in The King's Speech and impersonated last year in Madonna's ill-fated W.E. by Damien Thomas, George VI is winningly played this time around by Samuel West in a sympathetic, very likable turn. His wife, Queen Elizabeth, is essayed by Olivia Colman to a degree as a butt of comedy, a disapproving prune with an eagle eye for shortcomings in the accommodations and horrified, but truly horrified, by the presence of hot dogs on the menu for a picnic.

VIDEO: Bill Murray is a Wry FDR in First 'Hyde Park on Hudson' Trailer

Although the date of the royal tour, the first in history by a British monarch to the former colony, is never specified onscreen (it actually took place during the second week of June 1939, at the behest of Roosevelt as an extension of the king's scheduled visit to Canada), the specter of war casts a noticeable shadow over the splendid sunny days. With the heads of state setting the pace, nearly everyone drinks and smokes up a storm, and the characters' diverse forms of eccentricity lend the work an oddly but appealingly off-center quality under Roger Michell's astute and fluid directorial hand.

But the film would remain just a bonbon or a mildly diverting lark were it not for its moving central section. After the others have retired, the president invites the king to join him in his study. Cheekily asking the monarch to push him into the room in his wheelchair, Roosevelt liberally dispenses the liquor as he shrewdly guides the conversation in a way that not only cements a personal friendship but builds a useful political bridge and ratchets up George's morale in the bargain. "This goddamned stutter," the king laments at one moment. "What stutter?" asks FDR, before letting slip, "This goddamned polio."

STORY: Telluride 2012: The Oscar Season Begins

When the president adds that the American people never think about his useless legs, that the subject is never mentioned, it seems to do more for the king's own confidence than the totality of Lionel Logue's speech therapy. And when Roosevelt lauds the king and engages him so directly man-to-man, one gets the distinct impression that George has possibly never before received what felt like genuine, as opposed to rote, praise, that he has been accustomed to only criticism or silent disdain. A revelatory exchange between men of comparable global stature but glaringly different experience and character, the whole episode is beautifully written, directed and performed.

With the dreaded hot dog repast, complete with entertainment by Indians, having been survived, the royals bid farewell. Daisy, who's about had enough, slips away more discreetly. Ultimately, the FDR-Daisy story is the film's weakest element, in that the abiding mutual fondness and sense of confidentiality they allegedly share always seems overshadowed by the aversion Daisy feels to the whole arrangement. That Daisy is given pride of place in the story by her framing narration doesn't entirely square with her position of secondary dramatic interest and importance.

STORY: Telluride Film Festival Reveals Lineup

After all, the show is Murray's. Not as large or physically dominant as the president, Murray nonetheless grows into the role, One feels that, despite a world full of troubles, the man is at home and at ease here, so accustomed to being in control that he never needs to act imperiously or throw his weight around. Numerous accommodations have been made to his disability -- his car has been modified so that he can drive it entirely with his hands and it even has a dispenser that disgorges his cigarettes already lit -- but he neither feels sorry for himself nor expects special consideration. Murray captures FDR's wily side without overdoing it and brings the man alive with humor, alertness, intelligence and a sense of confident composure that seem entirely appropriate. The performance is both credible and very entertaining.

Handsomely decked out with a sharp eye for telling production design and wardrobe details, the film greatly benefits from the moody, atypical score by Jeremy Sams.

Opens: Dec. 7 (Focus Features)
Production: Focus Features, Film Four, Free Range Films, Daybreak Pictures
Venues: Telluride, Toronto, New York film festivals
Cast: Bill Murray, Laura Linney, Samuel West, Olivia Colman, Elizabeth Marvel, Elizabeth Wilson, Olivia Williams, Eleanor Bron, Martin McDougall, Andrew Havill
Director: Roger Michell
Screenwriter: Richard Nelson, based on his radio play
Producers: Kevin Loader, Roger Michell, David Aukin
Director of photography: Lol Crawley
Production designer: Simon Bowles
Costume designer: Dinah Collin
Editor: Nicolas Gaster
Music: Jeremy Sams
Rated R, 95 minutes

Argo: Telluride Review
12:57 AM PDT 9/1/2012 by Todd McCarthy


The Bottom Line

Director Affleck scores again with a tight and tense political thriller sparked by unexpected humor.
Release

October 14 (Warner Bros.)
Venues

Telluride, Toronto film festivals
Cast

Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Clea DuVall, Scoot McNairy, Rory Cochrane, Christopher Denham, Kerry Bishe, Kyle Chandler
Director

Ben Affleck
Director Ben Affleck tells a dense, multi-layered yarn "based on a declassified true story" with confidence and finesse.

Argo is a crackerjack political thriller told with intelligence, great period detail and a surprising amount of nutty humor for a serious look at the Iran hostage crisis of 1979-81. Proving even more than before that he's a behind-the-camera force to be reckoned with, Ben Affleck tells a dense, multi-layered yarn "based on a declassified true story" with confidence and finesse, while its unlikely Hollywood angle will make the industry home town crowd feel proud of itself.  From all points of view, this is one the major releases of the fall season.



The current perilous state of U.S.-Iranian relations can only heighten the interest and relevance of this fascinating sideshow to the main event, as a reminder of a dire turning point in modern history for those old enough to remember it and as a pertinent history lesson for people under 35. The truth about the "best bad idea" the CIA could concoct to rescue six U.S. Embassy workers who had escaped the compound was unknown until 1997 and even then did not receive enormous publicity.

A stylishly succinct prologue made up cartoons and documentary footage lays out in simple terms what led up to the departure of the Western-supported Shah and the advent of the Ayatollah Khomeini and fundamentalist Islam in Iran in 1979.
Visceral scenes convey the desperation of American Embassy workers to burn or shred sensitive documents before the raging mobs break through the gates and invade the premises, where they quickly take 52 hostages.

But more than two months later, the Iranians still don't realize that six Americans managed to slip out and take refuge in the still operating Canadian Embassy.  With his CIA colleagues at a loss to figure out how to sneak the six out of Iran, bearded, longish-haired agent Tony Mendez, who has already extricated some of the Shah's cronies out of the country, happens to catch a bit of Battle for the Planet of the Apes on TV and hatches a scheme both bird-brained and brilliant: He'll approach the series' prosthetics expert (real-life Oscar winning makeup artist John Chambers, wonderfully played by John Goodman) to help set up a phony science fiction project with sufficient plausible reality that he might be able to get the six out of Iran posing as Canadian production personnel who'd been on a location scout.

STORY: Telluride 2012: The Oscar Season Begins

Thus follows a most amusing Hollywood interlude for which the cynical remarks of a veteran producer with some time on his hands, Lester Siegel (Alan Arkin at his deadpan best), set the absurdly funny tone. Lester insists that the picture must appear to have a degree legitimacy to it, so an existing Star Wars-type rip-off script called Argo is purchased, a reading is held at the Beverly Hilton with costumed actors and ads are prepared.

So while Lester cracks that, "We had suicide missions in the Army that had better odds than this," the CIA, fronted here by Mendez's boss Jack O'Donnell (Bryan Cranston), surprisingly approves what it calls "The Hollywood Option." The necessary doctored passports in hand, Mendez heads for the Canadian Embassy in Tehran, where he meets six fellow Americans who are scared stiff.

The final act of the highly skilled screenplay by Chris Terrio, whose principal previous credit is for directing the little-seen 2005 film Heights, ramps things up from cold sweat tension to seconds-ticking suspense in traditional movie-movie fashion, even down to a pretty implausible but undeniably exciting climactic chase. It would be a major surprise indeed to learn that things actually went down just as they are shown to have done here. But if you want a strictly factual account, you'd probably rather be watching a documentary, which Argo decidedly is not.

Still, the film goes to great lengths to achieve an authentic feel and an outstanding sense of period. Turkey ably stands in for Iran in crucial exteriors, the many phones, communication and copying machines are right and the fashions, from the tacky casual wear sported by most characters to the outsized glasses frames, are spot-on in their infinite hideousness. The old Warner logo from the period is used upfront and the studio's famous water tower has even been relabeled to duplicate its look at the time. Rodrigo Prieto's superior cinematography affects a deliberately grubby look entirely in keeping with locations and desired feel of sweaty squalor.

Evocative use is made of TV news clips, from Mike Wallace's in-person interview with Khomeini to glimpses of the very young-looking Ted Koppel and Tom Brokaw. Small details are telling, such as how an Iranian passport official crosses out "Kingdom of Iran" on a form and scrawls in "Republic" instead, and how a British Airways flight attendant announces the end of alcoholic beverage service once the plane enters Iranian air space.

STORY: Telluride 2012: Screening of Ben Affleck's 'Argo' Opens Fest, Stirs Oscar Talk

Although the dramatic conclusion comes as no real surprise and represents the merest drop of cheer in a sea of unpleasantness between the United States and Iran over the past 33 years, it nonetheless delivers a strong charge of honest emotion, especially surprising for what in format is a genre film. The final explanations of how the real story of the mission was finally revealed includes a voice-over by Jimmy Carter, who was president when it all took place.

Except for the showier turns by Arkin and Goodman, the performances are credibly utilitarian, led by Affleck as a smart agent who has learned not to tip his hand through outward displays. Bryan Cranston as Mendez's boss and Victor Garber as the stalwart Canadian ambassador are similarly solid and unostentatious.

Release: October 14 (Warner Bros.)
Production: Smokehouse Pictures
Venues: Telluride, Toronto film festivals
Cast: Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Clea DuVall, Scoot McNairy, Rory Cochrane, Christopher Denham, Kerry Bishe, Kyle Chandler, Chris Messina, Zeljko Ivanek, Titus Welliver, Keith Szarabajka, Bob Gunton, Richard Kind, Richard Dillane, Omid Abtahi, Page Leong, Farshad Farahat, Sheila Vand
Director: Ben Affleck
Screenwriter: Chris Terrio, based on a selection from "The Master of Disguise" by Antonio J. Mendez and the Wired magazine article "The Great Escape" by Joshuah Bearman
Producers: Grant Heslov, Ben Affleck, George Clooney
Executive producers: David Klawans, Nina Wolarsky, Chris Brigham, Chay Carter, Graham King, Tim Headington
Director of photography: Rodrigo Prieto
Production designer: Sharon Seymour
Costume designer: Jacqueline West
Editor: William Goldenberg
Music: Alexandre Desplat
R rating, 120 minutes

Sjajno. Čekamo!!!1

Pogledao sam jedan od conspiracy klasika iz istorije televizije THE PRESIDENT'S PLANE IS MISSING iz 1973. godine, ekranizaciju romana Roberta Serlinga, u režiji Daryl Dukea. Duke je kultni reditelj filmova SILENT PARTNER i PAYDAY ali primarno je radio na televiziji, a ovo je njegov možda i najznačajniji televizijski rad. Jedan od scenarista ove adaptacije bio je Ernest Kinoy koji je samo godinu dana kasnije ekranizovan na Televiziji Beograd sa svojom dramom CRNA LISTA (nagrađenom Emmyjem u praizvedbi na američkoj televiziji). Ovaj podatak o Kinoyu zvuči kao potpuni SF ako imamo u vidu današnje stanje RTSa.

U svakom slučaju, THE PRESIDENT'S PLANE IS MISSING je značajno gradivo za ljubitelje conspiracy trilera i bavi se premisom šta bi se desilo ako Predsednik naprosto nestao. Pozadina cele priče su hladnoratovske tenzije sa Kinom, a junaci preko kojih rešavamo slučaj su novinari. Naravno, Dukeov rediteljski postupak je mnogo bliži televizijskom detektivskom krimiću nego ALL THE PRESIDENT'S MEN i u ovom slučaju uprkos tome što imamo temu Hladnog Rata, lik predsednika je potpuno aistoričan - možda najbliža figura sa kojom bi se mogao porediti je LBJa 1973. godine, Amerika je već imala drugačije političke okolnosti.

Glumačka ekipa je vrlo solidna, glavnog novinara igra iskusni Peter Graves a Rip Torn se pojavljuje u značajnoj supporting ulozi Predsednikovog savetnika.

Pogledao sam COMPLIANCE, film sa kojim je Craig Zobel privukao veliku pažnju ove godine. Ne spadam među one kojima je ovaj film bio naročito mučan. Ipak, Zobel nije prvoligaški majstor za ovu vrstu hanekeovskog šikaniranja i temi prilazi sa dosta američke pragmatičnosti. U tom smislu, sam film više deluje kao jednoipočasovni šlagvort za diskusiju nego kao delo koje za vreme svog trajanja ostavlja naročit utisak. Činjenica da je jedan ovako bizaran događaj uspeo da se, sa varijacijama, odigra više desetina puta u Americi, i da se recimo u McDonald'su dešava godinama pre ovog najdrastičnijeg incidenta, jeste tema za razgovor.

Sam film ne uspeva da u potpuno ubedljivoj formi isprati Milgram ili Stanford eksperiment,  Isto tako, čini se da u jednom trenutku ponašanje ljudi počinje da izlazi iz okvira manipulacije i da se bazira na njihovim slabostima druge prirode.

Zobel takođe ostaje dosta nejasan oko nekih motivacija kojima manijak snažno manipuliše a to je recimo nedefinisana pozicija žrtvinog brata kao potencijalnog kriminalca koga policija eventualno ugrožava.

Doduše, moguće je da meni ovaj milje radnog mesta nije dovoljno blizak pa da je i zato ovaj film imao manji efekat na mene.

* * 1/2 / * * * *

 Following "Ivans XTC" and "The Kreutzer Sonata," writer-director Bernard Rose and lead actor Danny Huston complete their trilogy of Tolstoy updates with this two-character drama.

VENICE – Fans of the 1992 cult horror hit Candyman probably never guessed at the time that Brit writer-director Bernard Rose would go on to become filmdom's most dedicated Tolstoy obsessive. After being bitten by the bug with a traditional telling of Anna Karenina in 1997, the cast of which featured Danny Huston, he has since reteamed with the actor on a trilogy of no-budget modern updates of the 19th century Russian writer's work. Following Ivans XTC and The Kreutzer Sonata comes Boxing Day, but this textureless adaptation of Master and Man suggests the well has run dry.

The 1895 novella is admired for its profound humanism and spirituality, its soulful considerations on greed and virtue, and its vivid evocation of a bitingly cold, unforgiving landscape. Those elements earned the story a place among the great works of short fiction. But all are either dulled or absent in this drawn-out overhaul, shot digitally by Rose with an ugliness that makes even the Colorado Mountains look flat.

Tolstoy's wintry parable concerns a merchant bent on expanding his riches by closing a bargain deal over a holiday, thus beating out any potential competition. Accompanying him on a perilous journey through a snowstorm is a kindly, under-compensated servant who seeks redemption for his drunken past. They get lost three times before their horse grows too tired to continue. Realizing they won't last the night, the merchant abandons his servant, basically deeming the poor man's life of no value. But he wanders around in a circle, ending up back where he started and undergoing a miraculous transformation into savior.

Rose's title refers to the British name for the day after Christmas, which derives from the tradition by which the wealthy box up a gift for their workers or those less fortunate than themselves.

The merchant character played by Huston is flailing Los Angeles real estate speculator Basil, who abandons his family during the holidays to fly to Denver. He aims to check out a string of foreclosed properties in the area that he hopes to buy from banks for below market value and then flip for profit. Short on liquid cash, he plans to bankroll the deal by unscrupulously accessing the funds of a church foundation.

Basil hires local chauffeur Nick, who as played by Matthew Jacobs (the screenwriter on Rose's first film, Paperhouse), is a candidate for most irritating person on the planet. An Englishman and recovering alcoholic who has alienated his wife and children, Nick is the nightmare of every traveler seeking solitude and quiet but stuck with a chatty fellow passenger. His logorrhea and ineptitude are played for low-key comedy but mostly land with a thud.

Rose's bid to give the story contemporary relevance by tapping into the mortgage crisis is robust enough. But a Thematically Important exchange between Basil and Nick – the Brit expresses concern for the folks who lost their homes while the American maintains that it's necessary to profit from their failure in order to keep the economy from continuing its nosedive – is didactic and heavy-handed.

While Jacobs is all-too-plainly a non-professional actor, Huston has no such excuse. Their conversations often have a semi-improvised feel, but not in a good way. Both characters are drawn superficially. Nick is well-meaning but socially and physically clumsy, while Basil is smug, condescending and unfeeling, growing more irritated as the driver gets them farther off course. But the performances are so inadequate that the gradual shifts in their interaction seem forced.

When they drift out of range of the GPS system and get stuck in snow and ice on a lonely mountain road, it's hard to be invested in either man's fate. But also in terms of plot logic the film stops making sense. It seems inconceivable that even a man as hungry to make a killing as Basil would insist on continuing into the night on what hours ago seemed a botched quest.

Boxing Day suffers from cumulative dramatic inertia as the journey becomes more tedious and repetitive. While the film sticks almost slavishly to Tolstoy's narrative contours in what's largely a two-hander, there's a stunning lack of pathos here, even with Gorecki's Symphony No. 3 working hard to add weight to the climax.

It's no fun to beat up on a virtual one-man band like Rose, who also edited the sluggishly paced drama and composed the plonking piano score with Nigel Fellows. But even by marginal indie standards, there's not much here to merit attention.

Venue: Venice Film Festival (Horizons)

Production companies: Independent, Giant Door

Cast: Danny Huston, Matthew Jacobs, Edie Dakota, Lisa Enos, Jo Farkas, Julie Marcus, David Pressler, Lyne Reese, Morgan Walsh

Director-screenwriter: Bernard Rose, based on the novella "Master and Man" by Leo Tolstoy

Producers: Luc Roeg, Naomi Despres

Executive producers: Michael Robinson, Andrew Orr, Norman Merry, Michael Rose, Lisa Henson

Director of photography: Bernard Rose

Music: Bernard Rose, Nigel Holland

Editor: Bernard Rose

Sales: Independent

No rating, 93 minutes

The Bottom Line

Olivier Assayas has made a distinctive and nuanced film about the much-chronicled post-1968 years of radical European politics, as well as providing droll insight into his self-discovery as an artist.
Venue

Venice Film Festival (In Competition)
Cast

Clement Metayer, Lola Creton, Felix Armand, Carole Combes, India Salvor Menuez
Director-screenwriter

Olivier Assayas
French writer-director Olivier Assayas returns to the time and place of his 1994 film, "Cold Water," stirring a strong dose of politics into the semi-autobiographical mix.

VENICE – In his darkly poetic 1994 feature, Cold Water, Olivier Assayas revisited his early-70s adolescence in a town near Paris via a youth named Gilles and his troubled girlfriend Christine. The French writer-director returns to that time and place, with leads again named Gilles and Christine, in the exquisite, semi-autobiographical Something in the Air (Apres mai). While the earlier drama was notable for its absence of politics, the new film is virtually bursting with revolutionary ferment, albeit viewed with reflective detachment.
our editor recommends

That shouldn't suggest a distancing approach. This is a beautifully crafted work and an acute evocation of its period both in look and attitude, and it's no less deeply absorbing for being somewhat muted in tone.

The radical leftist spirit that lingered long after the May 1968 Paris student protests has been the subject of countless European films, usually romanticized with that softening glaze of middle-aged nostalgia for youthful convictions. But Assayas refreshingly considers that legacy – "after May," as the original French title indicates – from a clear-headed distance and with a certain amount of wry cynicism.

The passionate commitment of the time toward revolution is amply conveyed here, but it's also depicted as cripplingly diffuse. The big-picture ideology that called for sweeping change was fragmented by countless micro-ideologies in irreconcilable conflict. That caused the political energy to wane and eventually evaporate. In the case of Gilles (Clement Metayer) and many others it was channeled into art instead.

While Assayas makes clear that the rabblerousing was a necessary phase of the countercultural movement, he rightly questions its effectiveness in achieving many of the immediate goals. That gives his film a melancholy texture that sets it apart from most screen forays into this territory. It also provides a certain flipside kinship with the director's 2010 epic Carlos, which was set partly in the same period but with a contrasting illustration of revolutionary zeal put into galvanizing action.

PHOTOS: Venice Film Festival Day 3: Zac Efron Touts 'At Any Price,' Spike Lee Celebrates 'Bad 25'

Starting when Gilles is a high school senior, the film charts his increasing pull between radicalism and self-expression as an artist, first as a painter and then via his curious early steps into the film industry. It also takes in his failed romances with free-spirited Laure (Carole Combes) and later the more grounded Chrstine (Lola Creton), both of whom display a self-knowledge that eludes him.

The opening scenes that recreate a violent clash between riot police and activists in 1971 are visceral, breathless and tremendously unsettling. Initially, there's a sense of heady purposefulness as Gilles and his group are mobilized, gathering materials for daring nighttime graffiti raids in which they plaster the school buildings with anti-establishment posters and slogans. But when a security guard is injured, Gilles and a handful of others escape the heat by going to Italy for the summer.

Idyllic as much of their time there is, fissures begin to form, notably between Gilles and Christine. She wants them to continue traveling with an agitprop filmmaking collective, but Gilles finds the group's craft uninspired and their politics primitive. His close comrade Alain (Felix Armand) and the latter's American girlfriend Leslie (India Salvor Menuez) also are bound for other destinations, causing Gilles to head back to Paris, stung by his first taste of disillusionment.

PHOTOS: Venice Film Festival Day 1: Opening Ceremony Brings Out Glitz, Glamour and Kate Hudson

That sensation is steadily amplified as his commitment to radicalism starts to ebb and he struggles with the direction his future should take. Some half-hearted involvement with his father on a television detective series follows, cementing his disdain for bourgeois convention. Only by venturing far into the absurd, with a hilarious scene at a Pinewood Studios shoot in London involving Nazis, a voluptuous cavewoman and a fire-breathing prehistoric reptile, does Gilles find what appears to be his path forward.

Shot by Eric Gautier with an uncharacteristic composure that makes the natural beauty of the outdoor scenes especially beguiling, the film has a loose, almost collage-like feel, its flow enhanced by the gentle fades of Luc Barnier and Mathilde Van de Moortel's editing. One of the most visually striking scenes – as well as one of the film's most haunting – is a country-house party with a bonfire at which Gilles re-encounter's Laure, now romantically attached to a wealthy heroin addict. Full of dreamy detours, this is a direct echo of the party that takes up a large chunk of Cold Water's running time.

Performances by the mostly unknown cast are low-key and ultra-naturalistic, with Metayer providing a quietly intense center and soulful support from Creton and Armand.

PHOTOS: Venice Film Festival Day 2: Michael Shannon, Winona Ryder Heat Up With 'The Iceman'

The detailed yet remarkably unfussy work of production designer Francois-Renaud Labarthe and costumer Jurgen Doering cannot be praised enough in recreating the period without a single false note. Even potentially kitsch touches like the long white earth-mother gown in which Laure meets Gilles in the woods feel utterly of the moment. And as always with Assayas, the extensive use of music is impeccable, notably a stirring rendition of "Ballad of William Worthy," one of the antiwar folk anthems of Phil Ochs, performed by Johnny Flynn in a lovely nod to the protest movement of a decade earlier.

Venue: Venice Film Festival (In Competition)

Production companies: MK2, France 3 Cinema, Vortex Sutra

Cast: Clement Metayer, Lola Creton, Felix Armand, Carole Combes, India Salvor Menuez, Hugo Conzelmann, Mathias Renou, Lea Rougeron, Martin Loizillon, Andre Marcon, Johnny Flynn, Dolores Chaplin

Director-screenwriter: Olivier Assayas

Producer: Nathanael Karmitz, Charles Gillibert

Director of photography: Eric Gautier

Production designer: Francois-Renaud Labarthe

Costume designer: Jurgen Doering

Editors: Luc Barnier, Mathilde Van de Moortel

Sales: MK2

No rating, 122 minutes


i klip: http://www.dobanevinosti.blogspot.com/2012/09/novi-assayas-apres-mai.html

After rumors have been circulating for some time, the star has officially joined the cast of "Kick-Ass 2: Balls to the Wall."

Director Jeff Wadlow tweeted the official news, saying, "6 days till we start shooting... and we officially have our Colonel. Alrighty f'n then!"

Carrey will play The Colonel, a new superhero who helps lift the spirits of good guys Kick-Ass (Aaron Johnson) and Hit-Girl (Chloe Moretz) in the fight against crime.

Christopher Mintz-Plasse and Nicolas Cage are also returning for the sequel. Matthew Vaughn ("X-Men: First class"), the original's director, will produce this time around with Wadlow directing.

Carrey has appeared in comic book adaptations before, namely the '90s hits "The Mask" and "Batman Forever." He'll next been seen alongside Steve Carell in "Burt Wonderstone."

"Kick-Ass 2: Balls to the Wall" will hit theaters June 28, 2013.

Vuk senzibilizira narod pred Pride!

VUK DRAŠKOVIĆ VRUĆA SEXY PRIČA

Oduvek sam tvrdio da kad budu pravili audiobook izdanje Biblije na srpskom, treba Vuka da uzmu da čita. -_-

Pogledao sam L'AGRESSION - rape & revenge triler Gerarda Piresa, reditelja koga prevashodno znamo po blokbasteru TAXI s kraja devedesetih i po simpatičnom heist filmu RIDERS snimljenom posle toga iako je on već decenijama bio prisutan kao drugoligaški francuski reditelj, aktivan u raznim žanrovima.

Sticajem okolnosti, i L'AGRESSION ima u sebi element automobilskih potera, ali za razliku od navedenih filmova one ipak nisu osnovni sadržaj ove ekranizacije Johna Buella. Jean-Louis Trintignant igra čoveka kome je motorciklistička banda ubila i silovala ženu i kćerku, dok je on bio savladan i nokautiran u pokušaju da ih odbrani. U istrazi i osveti mu se pridružuje svastika sa kojom ulazi u bizarnu ljubavnu aferu.

Jean-Louis Trintignant i Catherine Deneuve su izvanredan glumački par, za najveće domete, ali nažalost Pires ne uspeva da na adekvatan način nađe pravu meru između exploitationa i onoga što bi se moglo posmatrati kao nadogradnja. Otud L'AGRESSION sasvim sigurno nije exploitation film, i jasna je namera da se snimi film koji će ponuditi utisak produbljenog, osveženog, trilera. Nažalost, sve ono gde Pires "prevazilazi" žanr ostaje samo zanimljivo i nikada ne postaje u potpunosti ubedljivo.

* * 1/2 / * * * *

Pogledao sam SCENE DE LIEU Andre Techinea. Scenario za ovu prilično pretencioznu i ne sasvim ubedljivu chabrolovsku priču napisali su Techine, Pascal Bonitzer i Olivier Assayas, i rezultat koji su postigli između ostalog čak ne može da se poditči time da je na nekom elementarnom gledalačkom nivou jasan, iako mi se čini da nije bilo namere da se ne razume priča. Slično poznom Chabrolu, i Techine voli radikalne gestove junaka koji su vrlo često u ozbiljnom neskladu sa realističkom fakturom koju dotle uspostavlja. Ta mešavina čehovljevskog izbegavanja velikih melodramskih događaja i potpuno neuverljivih lomova u junacima karakteriše ovaj rad.

* * / * * * *

"Lucky Number Slevin" helmer Paul McGuigan, who has made a name for himself recently helming all but one episode of the BBC's much acclaimed "Sherlock", is in final negotiations to direct Fox's untitled Frankenstein project says Heat Vision.

Taking a new spin on Mary Shelley's novel, Max Landis' script tells the tale through the eyes of Igor, Victor Frankenstein's assistant.

Shawn Levy was previously linked as director but dropped out. Landis and John Davis remain onboard as producer.

Aleksandar Hemon piše o CLOUD ATLASu!

http://www.dobanevinosti.blogspot.com/2012/09/cloud-atlas-by-hemon.html

Stari Kadar započinje svoj obračun sa Expendablesima...

http://www.citymagazine.rs/u-vazduhu/urban-flash/3958/dimitrije-vojnov-sumrak-heroja/

Pogledao sam MICHAEL KOHLHAAS-DER REBELL Volkera Schlondorffa, ekranizaciju romana Heinricha Von Kleista na kojoj je radio čuveni engleski dramatičar Edward Bond. Schlondorff je snimao ovaj film sa english-speaking ambicjima i on je već 1969. bio dakle spreman za prelezak u najvišu rediteljsku ligu, vrlo brzo posle ulaska u kinematografiju.

Nažalost, ovaj film naprosto nije dovoljno kvalitetan kao celina da bi mogao da postigne očekivani uspeh.

Naime, Schlondorff je u ovom filmu na nivou pojedinih detalja ali opet nedovoljno konzistentno započeo neke jako zanimljive rediteljske prodore. Pre svega, on tretira priču iz 16. veka vrlo često sa energijom i neposrednošću novotalasovskog filma, sa kamerom iz ruke i ekstremno krupnim planovima koji beleže sve na glumčevom licu. Zatim, u sceni jednog brutalnog napada Kohlhaasovih pobunjenika uz klasičnu orkestraciju mogu da se začuju i električne gitare koje svemu daju novu  dimenziju. Nažalost ova dva osvežavajuća rešenja nisu dovoljna da bi se ovaj film nametnuo kao značajan jer nisu konsekventno sprovedena i na kraju ovaj film pre svega treba zabaležiti kao slučaj kada su se ti postupci javljali.

David Warner u glavnoj ulozi ima potencijal da bude leading man ali ga Schlondorff dosta drži pasivnim ili u senci drugih događaja. Jedan od onih koji Schlodorffovoj režiji zasenjuje Warnera je i Relja Bašić koji je u svojoj bogatoj karijeri igrao dosta po stranim filmovima, snimanim kako u SFRJ tako i van. Recimo i sam KOHLHAAS je sniman u Čehoslovačkoj.

MICHAEL KOHLHAAS kroz nešto sporiji tempo i uvođenje motiva seksualne tenzije među pripadnike Kohlhaasove ekipe pokušava da bude drugačiji od klasične vestern postavke smeštene u 16. vek. Međutim, ta nadogradnja nije dovoljna i sve se svodi na kraju u jedan usporeni evropski vestern koji ne uspeva da iskomunicira jak romantičarski naboj sa kojim Schlondorff iznenađujuće koketira. Iako je među rediteljima Novog nemačkog filma, Schlondorff važio za klasicistu, pa je i meni verovatno zato najbliži, neka arhaična rešenja u ovom filmu su prilično iznenađenje. Naročito ako imamo u vidu da je u dva bitna rediteljsa postupka napipao i nešto inovativno.

MICHAEL KOHLHAAS je stoga pre svega zanimljiv ljubiteljima istorije filma i onima koje zanima nešto drugačiji prikaz ove epohe.

* * 1/2 / * * * *

Review: Tom Hanks and Halle Berry take a soulful journey in the transcendent 'Cloud Atlas'

Tom Tykwer and Lana and Andy Wachowski join forces for a challenging, daring new vision

By Drew McWeeny Saturday, Sep 8, 2012 11:59 PM



Halle Berry and Tom Hanks are just two of the actors who took the incredible journey of 'Cloud Atlas' with Lana and Andy Wachowski and Tom Tykwer


I can tell you this:  we'll definitely be running a Second Look piece about this film after it's in theaters, because it is a remarkable movie experience, one that cannot be digested easily, and any attempt to dig in fully would rob you of the sense of discovery that washed over me as I sat in the theater.

No matter what the subject matter, the combination of Lana and Andy Wachowski and Tom Tykwer would be reason enough to be excited.  The novel they adapted, though, is something very special, and a huge challenge for anybody looking to turn it into a film.  Walking into the film, I was hoping for something ambitious and different.  What I got was one of my two favorite films of the year so far, a movie I'll be returning to again and again, a unique and beautiful work of film art that dares to dream big in a way we rarely see from either studios or independent sources.

There are six interlocking stories that make up the movie, and at the start of the film, we are taken through each of them chronologically.  The first takes place in the south Pacific in the year 1850, and it deals with the journey of Adam Ewing (Jim Sturgess), a notary who has no business being at sea, and his unorthodox relationship with another passenger.  In the second story, set in 1931, Robert Frobisher (Ben Whishaw) finds work as the assistant to a composer (Jim Broadbent) who is in his waning years.  The third story is set in the mid-70s, and it's about Luisa Rey (Halle Berry), an investigative reporter who is determined to learn the truth about a potential health hazard at a nuclear power plant with the help of a whistleblower played by Tom Hanks.  In the fourth story, Jim Broadbent stars as Timothy Cavendish, a publisher who finds himself in trouble with gangsters over a book he's publishing, and he ends up locked away in a nursing home run by the loathsome Nurse Noakes (Hugo Weaving).  The fifth story takes place in a gorgeous futuristic version of Seoul and deals with Sonmi-451, a service clone who becomes a significant figure in a rebellious uprising against the status quo.  Finally, the movie jumps into the far future, after the end of what we think of as modern civilization, to tell the story of Zarchry (Hanks again), a tribesman who is asked to help Meronym (Berry again) with a very specific quest.


The film deals first with the notion of how stories serve as both history and as a way of making sense of who we are.  Characters from one segment appear in letters in another or in movies that we see in passing or even as stories shared around a campfire.  But the bigger connection here is that these completely different characters in all of these radically different times and places are all the same souls, colliding again and again as they move through time.  Identity is a malleable thing, with bodies serving merely as temporary containers for the essence that remains constant through time.  It seems particularly appropriate that this is the first film to feature a credit onscreen for Lana Wachowski as writer and director, and it fits neatly into the overall thematic interests that both Tykwer and the Wachowskis have explored in the past.

The idea of using a small cast to play roles in each of the different segments, some of the actors changing race and gender over the various stories, is definitely risky, but I honestly believe that if you're going to make something truly great, you have to be willing to be completely embarrassed.  I'd always rather see real ambition that falls short as opposed to someone playing it safe with something we've seen before.  "Cloud Atlas" is hard to describe if your only touchstones are other films because it doesn't feel like any other movie I can name.  It's not just the way the film was made or cast... it's the types of stories being told.  Don't expect conventional punchlines here.  Instead, these stories push moral and ethical buttons in some unusual and even oblique ways, and there is plenty of room in the film for every viewer to have a different experience with what they see.  There's a sense of trust on the part of the filmmakers that the audience will be willing to work for the pleasures that are strewn throughout, and there's also a deeply heartfelt optimism even in the film's darkest moments that makes it stand apart from the typical dystopian vision of most modern science fiction.

The cinematography by Frank Griebe and John Toll is daring and lush, and the score is equally rich and rewarding, with contributions from Reinhold Heil, Johnny Klimek, and Tykwer himself, who wrote the "Cloud Atlas Sextet," a key puzzle piece in the larger canvass of the film.  In the end, "Cloud Atlas" is a film that dares to imagine something beyond what is typically done in big-budget filmmaking, dense and daring, and as with "Speed Racer," I'm sure some people will be thrown by the basic cinema vocabulary on display.  Nothing is spoon-fed to you, and I walked out of my screening almost drunk on the potential of movie storytelling and the idea that there are plenty of frontiers left for us to explore.  It is easy to be worn down by Hollywood's constant stream of remakes and sequels and comic books, but all it takes is one "Cloud Atlas" for me to once again believe that anything is possible if the right artists are given room to experiment.

While it may not be for everyone, "Cloud Atlas" is one of my very favorite films this year.  You'll be able to judge for yourself when it opens on October 26.

Cloud Atlas: Toronto Review

The sky's not the limit in this well made but dramatically diffuse arthouse blockbuster.
Venue

Toronto International Film Festival (Special Presentation)
Cast

Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Doona Bae

TORONTO -- Not quite soaring into the heavens, but not exactly crash-landing either, Cloud Atlas is an impressively mounted, emotionally stilted adaptation of British author David Mitchell's bestselling eponymous novel. Written and directed by the Wachowski siblings and Tom Tykwer, this hugely ambitious, genre-jumping, century-hopping epic is parts Babel and Tree of Life, parts Blade Runner, Amistad and Amadeus, with added doses of gore, CGI, New Age kitsch, and more prosthetics than a veterans hospital in wartime. One of the priciest independent films ever made (on a purported budget of $100 million), Atlas will rely on its chameleon cast to scale a 3-hour running time and reach the box office heights needed for this massive international co-production.

Mitchel's 500-plus page book garnered several literary prizes and a huge following after it was first published in 2004, but many would have said that the novel's unique structure–where multiple stories in different time periods are told chronologically from past to future and then back again—was impossible to adapt to the big screen.

The Wachowskis (with Lana receiving her first screen credit here) and Tykwer (Run Lola Run, The International) figured out they could streamline the narrative by cross-cutting between the different epochs and casting the same actors in a multitude of roles. Although this helps to make the whole pill easier to swallow, it also makes it harder to invest in each narrative, while seeing the actors transformed from old to young, black to white, and occasionally gender-bended from male to female, tends to dilute the overall dramatic tension.

A brief prologue features an old man, Zachry (Tom Hanks), telling a story around a campfire, and from hereon in the film reveals how each plotline is in fact a tale told—or read or seen in a movie—by the next one (this is also a process used in the book).

They are, in ascending order: an 1849 Pacific sea voyage where a crooked doctor (Hanks), a novice sailor (Jim Sturgess) and an escaped slave (David Gyasi) cross paths; a saga of dualing composers (Jim Broadbent, Ben Wishaw) set in 1936 Cambridge; a San Francisco-set 70s thriller about a rogue journalist (Halle Berry) taking on a nuclear power chief (Hugh Grant); a 2012-set comedy about a down-on-his-luck London book editor (Broadbent); a sci-fi love story about an indentured wage slave (Doona Bae) and the rebel (Sturgess) who rescues her, set in "Neo Seoul" in 2144; and a 24th century-set tale of tribal warfare, where Zachry teams up with a visiting explorer (Berre) in search of a groundbreaking, planet-shaking discovery.

Despite their myriad differences, the half-dozen plot strands are coherently tied together via sharp editing by Alexander Berner (Resident Evil), who focuses on each separate story early on, and then mixes them up in several crescendo-building montages where movement and imagery are matched together across time. As if such links weren't explicit enough, the characters all share a common birthmark, and have a tendency to repeat the same feel-good proverbs (ex. "By each crime, and every kindness, we build our future") at various intervals.

Yet while the directorial trio does their best to ensure that things flow together smoothly enough and that their underlying message—basically, no matter what the epoch, we are all of the same soul and must fight for freedom—is heard extremely loud and incredibly clear, there are so many characters and plots tossed about that no one storyline feels altogether satisfying. As history repeats itself and the same master vs. slave scenario keeps reappearing, everything gets homogenized into a blandish whole, the impact of each story softened by the constant need to connect the dots.

Of all the pieces of the puzzle, the ones that feel the most effective are the 70s investigative drama, which has shades of Alan Pakula and Fincher's Zodiac, and the futuristic thriller, where the Wachowskis show they can still come up with some nifty set-pieces, even if the production design (by Uli Hanisch and Hugh Bateup) and costumes (by Kym Barrett and Pierre-Yves Gayraud) feel closer to the artsy stylings of Wong Kar Wai's 2046 than to the leather Lollapalooza that is The Matrix trilogy.

Perhaps such choices go hand in hand with a movie that yearns to be both arthouse and blockbuster, yet can't seem to make up its mind. Thus, the decision to utilize the same actors helps to visually link up the plots, but is so conspicuous that it distracts from the drama. It's hard to take Berry seriously when she's been anatomically morphed into a Victorian housewife (she's much better as the crusading reporter), or to swallow Hanks as a futuristic Polynesian tribesmen with a face tattoo and a funny way of talking (he says things like "Tell me the true true.")

Broadbent's experience in spectacles like Moulin Rouge! and Topsy-Turvy makes him better equipped for such shape-shifting, and his present day scenario is both the silliest and in some ways, the most touching. But it's Hugo Weaving who seems to have more fun than anyone, especially when he plays a nasty retirement home supervisor reminiscent of Nurse Ratched from One Flew Over the Cuckoo's Nest, and does so by getting into full-out drag. It's an effect that's amusingly disarming—not to mention evocative of Lana Wachowski's recent backstory—in a film that aims for the clouds but is often weighed down by its own lofty intentions.

Production companies: Cloud Atlas X-Filme, Creative Pool, Anarchos, in association with A Company and Ard Degeto

Cast: Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Doona Bae, Ben Wishaw, Keith David, Hugh Grant, Susan Sarandon

Directors: Lana Wachowski, Tom Tykwer, Andy Wachowski

Screenwriters: Lana Wachowski, Tom Tykwer, Andy Wachowski, based on the novel by David Mitchell

Producers: Lana Wachowski, Tom Tykwer, Andy Wachowski, Grant Hill, Stefan Arndt

Executive producers: Philip Lee, Uwe Schott, Wilson Qiu

Directors of photography: John Toll, Frank Griebe

Production designers: Uli Hanisch, Hugh Bateup

Costume designers: Kym Barrett, Pierre-Yves Gayraud

Music: Reinhold Heil, Johnny Klimek, Tom Tykwer

Editor: Alexander Berner

Visual effects supervisor: Dan Glass

Sales: Warner Bros. Pictures (U.S.), Focus Features International (Outside U.S.)

R rating, 171 minutes

Toronto
Cloud Atlas
(Germany)
By Peter Debruge

A Warner Bros. release and presentation of a Cloud Atlas/X-Filme Creative Pool/Anarchos production in association with A Company and Ard Degeto. Produced by Grant Hill, Stefan Arndt, Lana Wachowski, Tom Tykwer, Andy Wachowski. Executive producers, Philip Lee. Co-producers, Roberto Malerba, Marcus Loges, Peter Lam, Alexander Van Dulmen, Tony Teo. Directed, written by Lana Wachowski, Tom Tykwer, Andy Wachowski.
Zachry, et al - Tom Hanks Luisa Rey, et al - Halle Berry Timothy Cavendish, et al - Jim Broadbent Nurse Noakes, et al - Hugo Weaving Adam Ewing, et al - Jim Sturgess Sonmi-451, et al - Doona Bae Robert Frobischer, et al - Ben Whishaw Kupaka, et al - Keith David Rufus Sixsmith, et al - James D'Arcy Madame Horrox, et al - Susan Sarandon Kona Chief, et al - Hugh Grant With: Xun Zhou, David Gyasi, Robert Fyfe, Martin Wuttke, Robin Morrissey, Brody Lee, Ian Van Temperley, Amanda Walker, Ralph Riach, Andrew Havill, Tanja de Wendt, Raeven Lee Hanan.
An intense three-hour mental workout rewarded with a big emotional payoff, "Cloud Atlas" suggests that all human experience is connected in the pursuit of freedom, art and love. As inventive narratives go, there's outside the box, and then there's pioneering another dimension entirely, and this massive, independently financed collaboration among Tom Tykwer and Wachowski siblings Lana and Andy courageously attempts the latter, interlacing six seemingly unrelated stories in such a way that parallels erupt like cherry bombs in the imagination. The R-rated epic should find a substantial audience when Warner Bros. releases it Oct. 26, assuming critics don't kill it in the cradle.

Based on David Mitchell's novel -- more like six novels really, with each one executed in a different genre, then split and wrapped around the next in a nested, "The Saragossa Manuscript"-style construction -- this daunting adaptation rejects the book's innovative, but overly literary format in favor or a more cinematic approach, opting to tell all half-dozen tales at once. Like juggling Ginsu blades, the tricky feat is part stunt, part skill, but undeniably entertaining to witness as half a millennium of world history unfolds, much of it set in centuries still to come.

Whereas the directors' earlier films hook viewers from the opening scene, this one functions more like a symphony, laying out snatches of all six separate strands and gradually building toward grand movements in which these elements merge in different combinations. Playing to their respective strengths, the Wachowskis tackle the earliest and two future-set segments, while Tykwer manages the three more contempo episodes, including a comedic one featuring Jim Broadbent as Timothy Cavendish, a borderline-senile book editor set in present-day London.

Broadbent, like the rest of the multiculti cast, reappears in the other sections as well, fully reinventing himself as a briny sea captain and a world-famous composer, plus a couple other bit roles so cleverly disguised by makeup, auds might not recognize him on first viewing. Each of the stories involves some measure of romance, beginning in 1849, with American lawyer Adam Ewing (Jim Sturgess) separated from his beloved (Doona Bae) by seafaring adventures among the Pacific Islands, and extending to the year 2346, where a lowly goat-herder (Tom Hanks) falls for an emissary (Halle Berry) from the opposite end of the technological spectrum in post-apocalyptic Hawaii.

Berry also stars in her own thread, playing Luisa Rey, a San Francisco reporter circa 1973 investigating the imminent threat of a nuclear reactor meltdown, receiving key assistance from scientist Rufus Sixsmith (James D'Arcy), who might just be the same man seen in the Cambridge-set 1936 chapter, a touching same-sex love story involving an aspiring musician (Ben Whishaw) attempting to write what will become the film's theme, "The Cloud Atlas Sextet," a beautiful piece actually composed by Tykwer, Johnny Klimek and Reinhold Heil.

The riskiest and most essential of the threads -- the one on which the entire tapestry depends -- takes place in NeoSeoul, 2144, a socially stratified "Blade Runner"-like city in which genetically cloned fabricants serve their consumerist masters. (By 2346, the middle class has been so ruthlessly eliminated that the world may as well be divided into cave-dwellers and astronauts.) Because the six segments naturally assume different styles, the division of labor among directors and their respective units complements rather than compromises the project's overall success, with the makeup and visual effects departments each carrying off seemingly impossible feats of transformation.

In Mitchell's novel, readers must draw their own connections between the tales, with only the recurring motif of a comet-shaped birthmark to suggest the continuity of a single soul across time. The film makes the congruities clearer, as Adam Ewing's Pacific journal is read by Frobischer, whose epistolary correspondence with Sixsmith resurfaces in the Luisa Rey mystery, eventually published by Cavendish, whose own story is adapted to film and viewed as a futuristic recording much later by Sonmi-451 (Bae) in NeoSeoul. The final connection is best left for auds to discover, but suffice to say that common themes echo throughout the film, where the gesture of liberating a slave in 1849 reverberates through time, culminating in a paradigm-changing insurrection whose denouement occurs two centuries later.

Certain links are impossible to miss by virtue of the way the three writer-directors assemble the film, and yet, given the sheer scope of the source material, so much has been omitted that one's attention must be engaged at all times as the mosaic triggers an infinite range of potentially profound personal responses.

No less exciting is the way "Cloud Atlas" challenges its actors to portray characters outside their race or gender. For instance Hugo Weaving plays villains in nearly every age, ranging from a heartless Korean consumerist to a Nurse Ratched-like ward master. Indeed, the filmmakers put the lie to the notion that casting -- an inherently discriminatory art -- cannot be adapted to a more enlightened standard of performance over mere appearance, reminding us why the craft is rightfully called "acting."
Camera (color, widescreen), John Toll, Frank Griebe; editor, Alexander Berner; music, Tykwer, Johnny Klimek, Reinhold Heil; production designer, Uli Hanisch; supervising art directors, Stephan O. Gessler, Kai Koch, Charlie Revai; set decorators, Rebecca Alleway, Peter Walpole; costume designers, Kym Barrett, Pierre-Yves Gayraud; sound (Dolby Digitial/SDDS/DTS), Ivan Sharrock; sound designer, Marcus Stemler; supervising sound editor, Frank Kruse; re-recording mixers, Lars Ginzel, Matthias Lempert; senior visual effects supervisor, Dan Glass; visual effects supervisor, Stephan Ceretti; visual effects, Method Studios, Industrial Light & Magic; Rise FX, Scanline VFX, Black Mountain, One of Us, Trixter, Lola VFX, Bluebolt, Gradient Effects; associate producers, Gigi Oeri, Lora Kennedy, Peter Grossman; assistant director, Sebastian Fahr-Brix; casting, Lora Kennedy, Lucinda Syson, Simone Bar. Reviewed at Toronto Film Festival (Gala Presentations), Sept. 7, 2012. MPAA Rating: R. Running time: 172 MIN.
(English dialogue)

Cloud Atlas

9 September, 2012 | By Allan Hunter

Dirs: Lana Wachowski, Tom Tykwer, Andy Wachowski. Germany. 2012. 163mins

Everything changes and everything stays the same over centuries of human existence in the kaleidoscopic Cloud Atlas. The sprawling, messy, undeniably ambitious screen adaptation of David Mitchell's "unfilmable" novel juggles a handful of seemingly disparate stories to illustrate a unifying theme that individual lives and actions can have profound consequences that echo through time.

    The Cloud Atlas is something of a glorious folly that is sometimes appealing, sometimes unfathomable but always handsomely mounted.

Moment to moment over the course of nearly three hours, the film is amusing, surprising, exciting, absorbing, thrilling, frustrating, tiresome, ridiculous and much more but it is often more platitudinous than profound and never coheres into a moving statement on the meaning of life.

The reputation of the novel and the pedigree of the all-star cast and directors should guarantee a generous level of curiosity over the outcome of their labours but many viewers may conclude that any rewards on offer are not necessarily worth the effort involved.

David Mitchell's novel allowed a series of stories to bleed into each other revealing the connections that link even the most diverse individuals. The film takes the riskier approach of interweaving the stories that ironically tends to break the emotional ties that might otherwise have developed.

A dizzying opening stretch introduces the various fragments as notary Adam Ewing (Jim Sturgess) visits the Pacific islands in 1849. In 1930s Britain, Ewing's journals of his voyages fascinate composer Robert Frobisher (Ben Whishaw). In the San Francisco of 1973, investigative journalist Luisa Rey (Halle Berry) reads the letters that Frobisher wrote to his lover. In the London of 2012, publisher Timothy Cavendish (Jim Broadbent) finds his life tipping into a farcical nightmare after falling foul of a brutal author. In the New Seoul of the future, clone Sonmi-451 (Bae Doona) faces execution for her part in a rebellion against an oppressive government. In a post-apocalyptic Hawaii, tribesman Zachary (Tom Hanks) is visited by a woman Meronym (Halle Berry) who is one of the last survivors of a lost civilisation.

There is a sense that any of these stories could have made a successful film in its own right from a high seas adventure to a futuristic blockbuster but when they are shuffled together they inevitably fragment and lose some of their impact.

The Hawaiian tale is further hampered by the use of a language that is often hard to grasp. Just as you start to enjoy the comical fate of Cavendish you are whisked back to the ailing Ewing on the seven seas. Just as you really start to care about Frobisher (played with an aching tenderness by Ben Whishaw) and his impossible life, you are off to the future and a fight against tyranny that comes very close to the kind of territory already exhausted by Lana and Andy Wachowski in The Matrix trilogy. There are also several moments of jarring violence and bloodshed along the way.

The film underlines the way lives are connected by using the stellar cast in a multiplicity of roles that requires them to change age, gender or ethnicity. Initially, the stunt casting seems little more than a gimmick with the big names stars given a chance to don distracting silly noses, layers of latex, dodgy accents and play dressing up games.

Later, it provides some outrageous sights as Tom Hanks is transformed into a vicious cockney geezer who really knows how to silence an irksome critic of his work, Hugo Weaving appears as the fearsome Nurse Noakes and Hugh Grant's many appearances include a bloodthirsty cannibal warrior and Cavendish's aged, vengeful brother.

Hanks, Grant, Halle Berry and Bae Doona all seem more than game for the demands made of them but it is Jim Broadbent who consistently triumphs in characters where he goes beyond the sketchy superficiality of surface transformation to create individuals who are real and believable including the desperate Cavendish and composer Vyvyan Ayrs.

The film is also a triumph for editor Alexander Berner who shapes an epic amount of material into a fluid piece of cinematic narrative that at least succeeds on the level of a neverending bedtime story where you always want to know what happens next.

The Cloud Atlas is something of a glorious folly that is sometimes appealing, sometimes unfathomable but always handsomely mounted. It is the crushingly banal conclusion that we are all bound to each other through the constantly repeating circles of history that really disappoints. Like the song once said-the world is a circle without a beginning and nobody knows where the circle might end.

Pogledao sam AN ALMOST PERFECT AFFAIR Michaela Ritchieja, Ovaj film sam dugo tražio jer spada među poslednje radove u Ritchiejevoj kanonskoj "ličnoj" fazi. U periodu kada se Ritchie često bavio temom kompeticije, u filmovima DOWNHILL RACER, CANDIDATE, SEMI-TOUGH i SMILE, AN ALMOST PERFECT AFFAIR je priča o filmskom reditelju koji odlazi da pokaže svoj film u Kanu, doduše kupcima a ne na takmičenju.

Ritchie nudi vrlo autentičnu rekonstrukciju problema sa kojima se suočavaju filmski radnici koji dolaze u Kan, i uopšte posetioci Azurne Obale. Međutim, osim primećivanja stvari (koje su svi primetili) Ritchiejev film nudi malo manje vibrantnosti nego njegovi raniji filmovi. U vizuelnom pogledu je vrlo konvencionalan, a u prikazu međuljudskih odnosa je začuđujuće čedan, ako imamo u vidu cinizam na kome su se bazirali njegovi filmovi. U tom pogledu AN ALMOST PERFECT AFFAIR deluje kao krajnje paradoksalan slučaj - za razliku od drugih reditelja koji obično postaju ciničniji kada prikazuju svet filma, kolegijalne odnose i sl. - Ritchie postaje naivniji i romantičniji. Naročito je paradoksalno da ovaj film koji dolazi od reditelja za kog smetra da je u svojoj kanonskoj fazi doneo evropski enszibilitet u američki film, sada imamo jedan naivan pojednostavljen američki pogled upravo u miljeu Francuske i to samog bastiona art filma.

Keith Carradine je glumački efektnije od Monice Vitti koja je šarmantna ali i nimalo ubedljiva u ulozi supruge velikog producenta koji podseća na Dino De Laurentiisa. S druge strane, Carradine jeste svojevrsni Ritchiejev alter-ego, čak i po prosedeu koji zastupa i u principu je efektniji od Monice. Nažalost, zadatak koji pred njih postavlja Ritchie nije po svojoj složenosti bilo kakav izazov.

AN ALMOST PERFECT AFFAIR je uprkos svojoj simplifikovanosti i naivnosti, i skretanju u neobično pitom rediteljski postupak, prilično dinamičan film i kao promašaj se kvalifikuje baš zbog svoje pitkosti a ne zbog hermetičnosti koja bi se očekivala od ovakve teme.

* * / * * * *

Byzantium: Toronto Review
David Rooney
Neil Jordan interviews a whole new set of vampires but draws precious little blood.

Venue

Toronto Film Festival (Special Presentation)
Cast

Gemma Arterton, Saoirse Ronan, Sam Riley, Jonny Lee Miller, Daniel Mays, Caleb Landry Jones
Director

Neil Jordan
Screenwriter

Moira Buffini

Gemma Arterton and Saoirse Ronan play 200-year-old vampires in director Neil Jordan's female twist on the bloodsucking genre.

TORONTO -- "I am Eleanor Webb. I throw my story to the wind." So says the ancient child-woman played by Saoirse Ronan in Byzantium. In a sense that's what director Neil Jordan and screenwriter Moira Buffini do too, allowing this moody but convoluted century-hopping reinvention of the vampire myth to drift in too many meandering directions before it finally comes together with a semblance of focus in the concluding stretch.
our editor recommends
The film is handsomely made, shot by Sean Bobbitt with a blend of gritty naturalism and shadowy storybook fantasy, and a widescreen frame often painted with striking images. It also benefits from Javier Navarette's lush score. But Jordan's return to territory he traveled in Interview with the Vampire and to a lesser extent The Company of Wolves is sluggish and lacking in bite. It has neither thrills nor suspense.

Buffini makes a promising choice by taking a route closer to that of Anne Rice than of Stephenie Meyer or Charlaine Harris, respectively authors of the Twilight and True Blood series. But her screenplay for Byzantium lacks the clarity, depth of character and robust story sense the writer brought to Tamara Drewe and Jane Eyre. While Buffini adapted the new film from her 2008 young adult play A Vampire Story, the script has more of a novelistic sweep, attempting to cover too many plot strands across two time periods and struggling to find a consistent tone. Troweling on voiceover at every turn doesn't help.

Born in 1804 yet forever 16, Eleanor is first seen living on a drab council estate where she endures the pain of her haunted past by writing the story of her life that can never be told, disposing of it page by page. The melancholy teen kills only those who seek the release of death. She displays no visible fangs, just a retractable pointed thumbnail to make the first incision.

First described by Eleanor as her muse, Clara (Gemma Arterton), is the polar opposite of the younger girl. While Eleanor is intensely still, introspective and burdened by secrets, Clara is volatile and trashy. A lap-dancer with a temper, Clara is chased down by a mysterious agent (Thure Lindhardt), who she promptly beheads with a garrote. Obviously not for the first time, she tells Eleanor to pack for a hasty move.

They land in a sleepy coastal town where Eleanor insists they've been before, seeing visions of herself on the beach among a gaggle of Georgian-era schoolgirls. Clara picks up morose Noel (Daniel Mays), who has inherited a boarding house called Byzantium and run it into the ground. Passing Eleanor off as her sister, Clara moves them in, then dispatches a local pimp and recruits his girls, repurposing the old hotel as a brothel.

Eleanor, meanwhile, has formed a cautious attachment with Frank (Caleb Landry Jones), a sickly youth with stringy hair whose leukemia medication causes him to bleed profusely when injured. His fragility and proximity to death make him a perfect match for Eleanor, who shares her story for the first time, ostensibly as an exercise for writing class. (An unbilled Tom Hollander plays the teacher who gets unwisely intrigued.)

Where the film gets seriously bogged down is in the muddy flashbacks to the same location two centuries earlier. Clara is transformed from poor waif to harlot by sinister Navy captain Ruthven (Jonny Lee Miller), despite the efforts to intervene of his kinder, gentler lieutenant, Darvell (Sam Riley). There's much back and forth as we learn that Clara gave birth to a daughter (guess who?), placed in an orphanage while her consumptive mother kept whoring to pay for her upkeep.

Clara and Eleanor's transformation into vampires could have been dispensed with in a quick flash or two. Instead Jordan and Buffini slow the momentum by wading through developments with Ruthven and Darvell. Mostly, the director seems bewitched by the imagery of a cave on a rocky island, from which flocks of blackbirds spew forth and the surrounding waterfalls gush with blood every time a new "sucreant" is born. These scenes are moderately cool but don't justify being seen in repeat mode.

We learn that Clara violated the rules of the exclusively male, class-conscious vampire order – archly named "The Pointed Nails of Justice" – whose goons have been pursuing the female outlaws ever since. But the backstory generally is far less involving than the present.

The bigger disappointment is the script's failure to exploit the emotional potential of mother-daughter vampires struggling to make a living, stay off-radar and survive. This is also due to the lack of a deep connection between the two characters or the actresses playing them.

Ronan has shown before that she can be compelling even in a mishandled movie (The Lovely Bones) or one drowning in self-conscious style (Hanna). She's always an interesting presence, and her scenes with Jones' pale, otherworldly Frank have a nice sorrowful texture. But there's too little heat of either the loving or conflicted kind between Eleanor and Clara, who is played by Arterton as a dangerous tart in killer outfits, but not much more.

Venue: Toronto Film Festival (Special Presentation)
Production companies: Number 9 Films, Parallel Films, Demarest Films
Cast: Gemma Arterton, Saoirse Ronan, Sam Riley, Jonny Lee Miller, Daniel Mays, Caleb Landry Jones, Thure Lindhardt, Uri Gavriel, Maria Doyle Kennedy, Tom Hollander
Director: Neil Jordan
Screenwriter: Moira Buffini, based on her play "A Vampire's Story"
Producers: Stephen Woolley, Alan Moloney, Elizabeth Karlsen, William D. Johnson, Samuel Englebardt
Executive producers: Mark C. Manuel, Ted O'Neal, Sharon Harel-Cohen, Danny Perkins, Norman Merry
Director of photography: Sean Bobbitt
Production designer: Simon Elliott
Music: Javier Navarette
Costume designer: Consolata Boyle
Editor: Tony Lawson
Sales: WestEnd Films/CAA/WME
No rating, 118 minutes

http://www.darkhorizons.com/news/24896/emmett-furla-want-neeson-for-trade

Emmett/Furla Films have acquired and will finance the action thriller "Fair Trade" as a potential starring vehicle for Liam Neeson reports Deadline.

The company picked up the project, which had been in development at Alcon Entertainment, and aims to begin shooting next Summer in Pittsburgh. Final negotiations are underway with Open Road Films for domestic distribution.

A remake of the Serbian thriller "The Trap", the story follows a limo driver whose son is in desperate need of surgery - surgery his insurance company won't cover.

A mysterious man approaches with a deal: he'll pay for the child's surgery if the driver kills a mobster. Warren at first refuses, but reconsiders once he realizes his child's life depends on it.

While the studio wants Neeson, it isn't clear if the actor will star. Ericson Core ("Invincible") is directing from a script by Matt Aldrich.

Pogledao sam DICK Andrew Fleminga, reditelja sa jednom od najneverovatnijih karijera u savremenom Holivudu. Počeo je pre dvadesetak godina kao jedan od najtalentovanijih diplomaca NYUa, zatim je počeo sa shclocky hororima što je bilo iznenađujuće za sve one koji su ga znali kao uspešnog studenta, prešaltao se na komediju, ponovo mahom u domenu studio i sub-studio filma i na tom putu je snimio štošta, a ponešto od toga kao što je recimo DICK je i izvanredno.

DICK je film iz 1999. godine koji se može ukratko definisati kao CLUELESS smešten u milje ALL THE PRESIDENT'S MEN i govori o blentavim tinejdžerkama koje u periodu Watergate skandala svojim nesvesnim postpcima svrgavaju Nixona. Film je moguće ispratiti i razumeti i u slučaju da gledalac ne zna ALL THE PRESIDENT'S MEN, ali ako zna, onda je ovo automatski klasik.

Fleming vrlo pažljivo kao reditelj i ko-scenarista postavlja stvari, na tragu Zemeckisa u izvanrednom I WANNA HOLD YOUR HAND, samo sa više indie cinizma, i DICK zbilja funkcioniše i kao punokrvna omladinska komedija i kao politička satira, pa u krajnjoj liniji i kao komentar na conspiracy filmove sedamdesetih.

Kirsten Dunst i Michelle Williams su izvanredne u glavnim ulogama, Dan Hedaya je jako duhovit sa svojom imitacijom Nixoa i uopšte sve uloge/imitacije zvaničnika su izuzetno duhovite, a farsična scena sa Brežnjevim je klasik. DICK je u vreme izlaska prepoznat kao unikatan i pozitivan primer ali nažalost nije pomogao da se Flemingova karijera stabilizuje tako da je on potom nastavio sa oscilacijama. Međutim, kvalitet koji je pokazao u ovom filmu i solidan nivo drugih stvari koje je radio sugerišu da je on reditelj na kog treba obratiti pažnju,

* * * 1/2 / * * *  *

Skroz  zabavan trailer. Michelle Williams iz perioda kad je snimala Dawson's Creek ,tad je bila najsladja.
Skidam.