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

Covek je legenda. Jedan od najlucidnijih reditelja osamdesetih, koji je mnogo toga doneo americkom zanrovskom filmu, a ponajvise kada je rec o vezi strip-film snimivsi neke od najstripovskijih filmova a da oni paradoksalno i nisu bili bazirani na stripovima - remek dela: Evil Dead i Darkman, kao i odlicni Evil Dead 2, Army of Darkness i The Quick and the Dead.

Na zalost, posle poslednjeg velikog filma The Quick and the Dead, Rejmi, u nemogucnosti da napravi box-office hit, a da ne odstupi od sopstvenog rediteljskog svetonazora, pada u mediokritet srednjebudgetne produkcije i snima tek gledljive filmove: A Simple Plan i The Gift koji su po svemu pre filmovi Billy Bob Thortona, nego Sema Rejmija. Tu se negde uklapa i neshvatljivi izlet u melodramske vode i gotovo kobna (as always) saradnja sa Kevinom Kostnerom na filmu For Love of the Game.

Onda je dosao Spider-Man i novo razocarenje starih fanova, koje u ovom slucaju ima i jedno dublje znacenje, jer i ako su ranije postojale sanse da se Rejmi vrati na stari put, danas je to nepovratno izgubljeno. Zbog sveopsteg uspeha Spider-Mana, Rejmijev put je vec zacrtan, a mi mozemo samo da naricemo i gledamo stare filmove iznova i iznova...

Moj izbor je Darkman. Najstripovskiji film koji sam u zivotu gledao. Najbolji superhero film, takodje. Jedan od retkih filmova kome i posle cetiri gledanja (poslednje pre par dana, dok sam ga prevodio za DivX) ne uspevam da pronadjem manu. Film koji funkcionise na svim nivoima - film je istovremeno i beskompromisna akcija i ubedljiva melodrama. Istovremeno je beskrajno duhovit ali i istinski tragican.

Kraj filma je posebna prica. Primetite malu slicnost sa Spider-Manom (koja je u osnovi tek povrsna), i zasto u ovom filmu kada Peyton/Darkman ostavi svoju devojku to savrseno funkcionise dok je u Spider-Manu to nategnuto i budalasto.

Secate li se jos nekog filma gde glavni junak, heroj ubija negativca a da to nije u samoodbrani? Do djavola, secate li se bilo kog  filma, osim genijalnog Se7en, snimljenog u poslednje vreme, a da je to slucaj?

I ona recenica: I'am learning to live with a lot of things.

Jedna od najboljih replika koju sam cuo u nekom filmu, ikada.

Bolje da prestanem, pocecu da se ponavljam u hvalospevima...

Darkman rulez!



Dakle, koji je vama omiljeni/najbolji Rejmijev film? I jos vaznije, zbog cega?


BTW Nisam jos uvek gledao Crimewave, tako da su svaki info/misljenje/kritika u vezi sa tim filmom krajnje dobrodosli.

Zar je moguce da ova tema ne dobije niti jedan komentar za sve ovo vreme.
Covek je bre promenio horor zanr iz temelja, malo su ga velike producentske kuce i velike pare pokvarili, ali u osnovi i kroz kasnije radove provejava povremeno dah genijalne inovativnosti.

Pa sve je Milosh lepo rekao.

Evil Dead je keva.

Da, posebno je to bio u ono vreme... Danas mozda nekom klincu i nece sve to izgledati odvise revolucionarno, posebno ako se poredi sa kasnije snimljenim filmovima i najnovijim kompjuterskim hiperatrakcijama.

Hmmm, pa dobro, Army of Darkness mozda i moze da upadne u problem poredjenja sa kompjuterskim hiperatrakcijama, ali prva dva Evil Dead-a imaju specificnu atmosferu ludila koje dele sa Braindead-om i sl., a koju nikakva kolicina rendanih piksela ne moze da odmeni.

Generalno, problem sa danasnjim inovatornim umetnicima je sto su standardi dosta podignuti. Nekada su se filmovi snimali za poneku stotinu hiljada dolara i bilo je dosta onih koji su toliko mogli da odvoje u neki licni projekat. Setimo se filma "Bad Taste" koji je snimljen za smesne pare, a imao je sasvim zadovoljavajuce efekte za ono vreme, dakle, u gledanju nije bio inferioran po pitanju tehnike, a imao je duha.
Danas gotovo da je nemoguce uraditi takvu stvar, kada su standardi Dan posle sutra i Gospodar prstenova. To je ipak preskupo za veliku vecinu potencijalnih autora u smislu da to mogu izgurati sami, trebalo bi da se podesi da covek bas bude i mag na kompjuteru i da ima stila za nove ideje. Dolazi do toga da tehnicki bolji poznavaoci komjutera mogu sami uraditi bolje neke stvari, ali je malo verovatno da time daju neki doprinos, da obeleze vreme u kome su.
Umetnost i film posebno sve vise lici na poker, koji je smisljen ne da oni koji imaju malo uzmu onima koji imaju mnogo, vec da oni koji imaju mnogo pokupe sirotinji svaku paru...

veliki sam obozavalac filma evil dead2 kao klinac toliko sam ga puta gledao gledao,tako da znam svaki kadar,pokret i najomiljeniji mi je film svih vremena.Napravio je dobar potez od spidermana serijala zbog gledanosti i zarade,vidi se kod Sam Ramia da stalno nosi lepo odelo sa kravatom na snimanje voli da se oseca bogatim . Citam nesto na netu da se pominje nastavak Evil Dead 4 na zalost drugi rezira,kad bi mogli da ubedimo Sema da rezira nastavak ispunio bi mi snove

Glasao sam za Brze i Mrtve...

Ovaj film sam gledao nebrojano puta i svaki put se oduševim. Način na koji je Rejmi storio svoj mali pakao u ovom filmu je fascinantan! Malo je filmova koji su na uspešan način uspeli da spoje vestern i horor...tj ja u ovom trenutku mogu da se setim samo još High Plains Drifter (ne znam koji je prevod) Klinta Istvuda koji sam davno gledao...

Rejmijev stil je jedinstven i on je svakako posebna pojava, što se vidi i u Brzima i Mrtvima: recimo, upotreba zuma je izvedena, možda, najbolje što sam ja video na filmu (mada, ne volim da vidim da se koristi – jako retno bude upotrebljen kako treba)...

Džin Hekman je genijalan u meni jednoj od njegovih najdražih uloga! Igra polu-đavola i ovakve uloge su kao stvorene za njega.
Lens Henriksen je imao fantastičnu epizodu...Rasel Krou, Šeron Stoun, pa čak i Di Kaprio je savršeno izabran za ulogu sina Džina Hekmana (možda njegova najbolja uloga u karijeri)...

Darkmen mi je bio jedan od najomiljenijih filmova kao klincu: neverovatno dobar spoj akcije, stripa, melodrame...Remek delo!

Meni se i Jednostavan Plan svideo. Mislim da nije stilski prepoznatljiv Rejmijev film, ali ima dosta dobru priču koja je znalački vođena do kraja (ne sećam se baš najbolje kraja filma, ali mi se čini da je malo zasran na kraju...?)

Evil Dead (prvi dio). Film koji me je istovremeno isprepadao i nasmijao. Ona scena sa pogađanjem karata je jedna od najjezivijih koje sam vidio.

JB votes Evil Dead II.

NA estra finchersima u dividi izdaniju se lepo vidi da su neka tri tipa koji mnogo liche na the Lone Gunmen crew iz (kesa za povracaj ruchka) iks fajlovsa koji su Rajmiju uradeli oni specijalni efekci mnogo vise uticali na vizuelni izgled filma nego reziser. Kembel je gomilu stvari SAM izmislio. Rajmi je sve sto je od instrukcia davo davo: a sad se to desi tu. ni kako ni o cemu ni na koji nacin. i onda ova trojica sednu i sve izmisle. Pa onda nije ni chudo sto je usro na spajderemenu. ali ivl ded je jak film, pa makar i rajmijev. i covek se pali na tri studzis.

a evo sta o Sam Raimiju kazu u nasem dnevnom listu blic :

Sam Raimi je pored "Spajdermena 1 i 2" rezirao sledece filmove: "The Gift", "A Simple Plan", "For The Love of the Game", "The Evil", "Dankman", "The Quick", "The Dead", kao producent u filmu Dzona Vua "Hard Target".  
ne znam zasto ove filmove nisi stavio u poll Miloshe
       

Brate, The Evil, kako je to bizaran horor!

A tek The Dead! Rimejk Hjustona, brate! Rejmi je do jaja!

Posljednjih dana preturam po nekim autobiografijama i memoarima (pretezno filmskih ljudi) i sjetim se da to sto slijedi imam i na elektronici. Pa vam ga evo, svim die hard Raimi fanovima: svojevrsni uvod za autobiografsku knjigu Brusa Kembela, If Chins Could Kill: Confessions of a B-Movie Actor (2002). Veoma zabavno... iako sam daleko, daleko, daleko od misljenja da cak nekada i priustim luksuz kontemplacije da je bilo ko od Brace Raimi - legenda.  

                      FOREWORD BY IVAN AND SAM RAIMI


EDITOR'S NOTE by Barry Neville

As an editor at St. Martin's Press, it is my responsibility to hire the author, edit the text and arrange for the book's introduction as based on the author's wishes. Mr. Campbell requested that brothers Ivan and Sam Raimi write the introduction for If Chins Could Kill.

In September of 1999 I telephoned Mr. Ivan Raimi and conveyed Mr. Campbell's request. At first, he seemed rather impressed that such a large publishing house was handling Mr. Campbell's book and happily agreed.

Within the hour, I received a call from his "literary agent," who refused to give his name, but claimed he was negotiating on behalf of the brothers. Strangely, the caller ID feature on my telephone revealed the telephone number of this "agent" to be the same as that of Mr. Ivan Raimi. I will allow the reader to draw his or her own conclusions.

This "agent" said that the fee was three thousand dollars. He asked whether it would be possible for St. Martin's Press to cut the check today? I informed the "agent" that customarily there is no fee paid for introductions. Usually an autobiography's introduction is written as a gesture of friendship toward the author. The agent claimed that the three thousand dollars was the "discounted friendship fee."

After some discussion, St. Martin's Press issued a cashier's check in the amount of $280 made out, as requested, to Ivan Raimi. The check was cashed the same day.

Two weeks had passed and where was my introduction? I telephoned Ivan Raimi, who claimed there must have been a misunderstanding. Apparently, his "agent" had told him that the $280 check was just the "starter fee" and should be treated as such. He mentioned that if I wanted to meet him, "somewhere nice, for say, lunch and drinks," that could be arranged.

Instead, I thought it best that he and his brother, Sam, come down to my office to discuss the introduction. He said he was far too busy to be bothered with that. I suggested that if his time was at a premium, I could tape-record the meeting, capturing the Raimi brothers' thoughts about Mr. Campbell, and have a ghostwriter put the introduction together. In this way, I assured him, no real effort would be required from him or his brother. This aroused his interest. He agreed, upon the condition that the subject of fees not be discussed in front of his brother, Sam, as he had distaste for all matters of business.

On October 22, 1999, Ivan Raimi entered my office and what follows is a transcription of that meeting:


Barry: Hello, Mr. Raimi. Welcome to St. Martin's Press. I'm Barry Neville, Bruce's editor. We spoke on the phone.

Ivan Raimi: Hi. Yeah. This place is really nice. Speaking of which, you got a damn good-looking secretary out there. I mean when I dropped those papers and she had to bend down and --

Barry: Yes. Thank you. As mentioned, I've got the tape running...

Ivan Raimi: I mean that's the kind of woman... I'd drink her bath water --

Barry: -- We're tape-recording...

Ivan Raimi: Sure, play anything you want. Listen, Sam's coming up in a second ... so we should get this fee thing out of the way.

Barry: Fee? As in... "additional fee"?

Ivan Raimi: Fee. As in "fee structure." It's an ugly word, but I think we need to get it out of the way before Sam comes back. Or he'll walk.

Barry: But we paid the fee. The two hundred and eighty --

Ivan Raimi: Barry, you paid the starter fee. Good. Good for you. But now let's talk completion. You still owe us some kind of completion fee. And please, do it quick, before Sam gets here.


EDITOR'S NOTE ****

At that point I paid Ivan Raimi an additional $120 from my personal cash. Shortly thereafter, Sam Raimi entered the room.


Sam Raimi: The headlights weren't on.

Ivan Raimi: Really? Hey. This is that guy I was telling you about.

Barry: Hi, I'm Barry Neville, pleased to meet you. Bruce is very excited to have you aboard.

Sam Raimi: Bruce. Bruce. Bruce this. Bruce that.

Barry: We think our readers will really respond to this book. Kind of an insider's --

Sam Raimi: You want to know what I think, Barry? I think, your readers are tired of the same old drivel pushed on them, time after time. Tired of being force fed purée by half-artists. Your readers have teeth. For God's sake, let 'em chew.

Barry: What do you mean?

Sam Raimi: I mean let's tell a different story. The story of an ordinary man --

Ivan Raimi: An extraordinary man!

Sam Raimi: Either way. But the forces of mediocrity are against him. I'm talking the story of a guy who fights his way up from the B movies!

Barry: Who?

Sam Raimi: Not Who. The question is... "why?"!

Ivan Raimi: I like it. It's good! Barry, let's do it!

Barry: Well, it's really interesting... but the task at hand is the introduction to If Chins Could Kill.

Sam Raimi: I see. And who, may I ask, is going to read this book? His illiterate fans? Barry, people get the wrong idea sometimes. See, Bruce is like a puppet. My puppet. I pull a string, he smiles. I pull another, and he runs through the woods and hits his head against the tree. And that's it. So tell me, Barry, whose story is more interesting? The puppet or the puppet master?

Barry: Well, we think that Bruce has developed quite a big following over the years. We believe this book has its own niche.

Sam Raimi: Uh-huh. Well, if there's such a big following, how come yer only paying my brother and I a hundred bucks to write the intro?

Barry: Guys, maybe this project isn't your cup of --

Ivan Raimi: Please, Barry, this is a great project, one that Sam and I both believe in and want to make special for you. Now, we agree to do the touch-up on Bruce's book, but don't expect --

Barry: "Touch-up"?

Ivan Raimi: What we in the film world call a "polish" -- but don't expect us to work for nothing, even if Bruce is our close friend -- 'cause that's like slappin' Bruce in the face.

Barry: But --

Sam Raimi: So what's this book about anyway?

Barry: Didn't you read it?

Ivan Raimi: Sure he read it. We both read it. It's got its own niche.

Barry: Gentlemen... the book does not need a polish. It needs an introduction. What I'd like to do now is to leave you alone, so that you might ruminate on your memories of Bruce. How you met, how you work together... I'll come back with a writer who will give some form to it, and put it in the context of a proper introduction.

Ivan Raimi: Why don't you send up some drinks and sandwiches. Something nice. And we'll start the creative process right away, Barry.

EDITOR'S NOTE****

At that point, I left the room. What follows has been transcribed from the tape recording made in my office:


Sam Raimi: This is horse shit.

Ivan Raimi: Tell you something else, I smell a screw job.

Sam Raimi: This guy'll pay.

Ivan Raimi: Right. Like those guys at United Artists paid? Did you ever get your money outta them?

Sam Raimi: Are you absolutely sure they never paid? 'Cause when I called, they said they sent the check to you.

Ivan Raimi: Somehow, I'm not surprised. I'll tell you what we do. This time we screw them before they screw us.

Sam Raimi: High five!

Ivan Raimi: High five!

Sam Raimi: Check this out...

Ivan Raimi: Look what I got.



EDITOR'S NOTE****

The remainder of the tape had no more voices, merely the sounds of drawers opening and closing. When I returned to my office, the Raimi brothers were gone. A gold pen and an antique silver clock were missing from my desk. In addition, my cellular phone was missing. I had it disconnected the next day, but when the phone bill arrived, I noticed that more than a dozen calls had been made to a series of 1-900 numbers that day.

I leave the reader to draw his or her own conclusions. But having had the privilege of getting to know Mr. Campbell through the preparation of this book, I beg the reader not to judge his character by the quality of his friends.

-- Barry Neville, Editor, St. Martin's Press  

Vaskrs teme uz Vernovu kritiku za "Drag Me to Hell"!!


Drag Me To Hell

A supernatural horror movie like DRAG ME TO HELL might seem like a weird thing to release in the end of May. But it's a hell of a fun time at the movies, making up for some of the underwhelming feelings we had from the bigger popcorn type movies. Looks like it's not doing so well right now, which is too bad. I recommend all horror fans see this immediately. But if you don't like being bossed around (and I don't blame you on that) at least read my review please. Thanks.

Have you ever had a friend, a relative or a pet that disappeared for so long you thought they were dead, and after you gave up hope they showed up again? Or maybe your car got stolen, you figured it was gone for good but then one day the cops called you and they found it on the side of a road somewhere without that much damage? Well, that's Sam Raimi. He was lost so deep in Spider-land we went through a period of denial, then acceptance, then moved on with our lives in a Raimi-free world and forgot all about him. But all the sudden the intercom buzzes in the middle of the night, we rub the sleep from our eyes and look out the window and holy shit if that isn't Sam Raimi standing at the gate holding DRAG ME TO HELL in a little cage.

Let's be fair though. I'm not gonna disavow the Sam Raimi of the 21st century. I don't blame him for getting bored with what he was doing and making THE GIFT, even if I was kind of bored with what he did in THE GIFT. And I liked his SPIDER-MAN movies, it's just that seven years of them is a heavy trade for the old Sam Raimi we loved. EVIL DEAD seems like so long ago now that when you hear his name associated with a horror movie (he produces a bunch of them through his company Ghost House) you assume it won't be very good.

30 DAYS OF NIGHT had some good parts, but there's not a particularly good track record there. There is no noticeable connection to the O.G. Sam Raimi, the guy with the energetic visuals and goofy dark humor, the purveyor of ultimate experiences in grueling horror and Three Stooges homages. The guy who strapped that camera to that car and drove it through the woods, who made a character swallow a flying eyeball, who had Liam Neeson demand the fucking elephant and blew a hole bigger than a grapefruit through Keith David's head in THE QUICK AND THE DEAD. What happened to the guy who worshipful fans rallied around and cheered on when he got to do SPIDER–MAN and then kind of... forgot about? You see glimpses of that guy in the SPIDER-MANs, but they're hidden behind the big budgets, the top-of-the-line effects, the demands of the corporation and the iconography and the movie stars and the franchise. Not as much room to fuck around and invent shit when you've got all those boxes to check off. So we don't really get to see all his talents there.

But god damn if O.G. Sam Raimi isn't back with DRAG ME TO HELL. Written with his brother Ivan just after ARMY OF DARKNESS, this is an old fashioned fun-time horror movie with a tone very close to EVIL DEAD II. It treats its story of a fatal 3-day gypsy curse seriously just like EVIL DEAD did the Necronomicon Ex-mortis. It's not another fuckin horror comedy. But you will find yourself laughing at all the inventively horrible things that befall the young loan officer Christine Brown, played by Alison Lohman.

There's a great score and arsenal of creepy sounds courtesy of Christopher Young (HELLRAISER), and the old school Universal logo and the way the title slams onto the screen get you ready for business. But the point where I made a positive I.D. on our man Sam Raimi was in the first real setpiece where Christine fights a decrepit, angry gypsy woman in an enclosed space and the two use every dirty-fighting technique known to woman. (My SPOILER favorite: the old lady loses her false teeth but bites Christine in the face anyway.) Just this scene milks more laughter and squirming out of you than most recent horror movies do in their entire running times. And this one never lets up.

Somebody told me DRAG ME TO HELL had "jump-scares" that work, somebody else said it wasn't very good because it was just a bunch of jump-scares. Both might be valid but I didn't think about it that way. I don't think it made me jump, it just seemed to be a movie where everyday reality can at any moment be ferociously invaded by feverish otherworldly visions, demonic apparitions and disgusting substances. It doesn't build to a crescendo of insanity like EVIL DEAD. It's more like this young professional is trying to keep a lid on the horror but it keeps pushing its way out and whacking her in the jaw with the lid. The poor girl is trying to get a promotion at the bank, but she bleeds all over her boss. She's trying to make a good impression on her boyfriend's parents but she starts yelling at a demon during dessert. She's not stuck in a cabin in the woods, she's trying to live her normal life and go to work and everything while this devil keeps circling around her licking its lips.

As horror fans we know that when somebody comes back from the dead there's gonna be something missing, such as a soul. Maybe it looks like little Gage, but he's gonna slash your achilles heel with a scalpel, so I was worried there would be some catch here with Raimi. Horror fans tend to be purists, and most of the ones I know are totally racist against any use of CGI. I do think there is one quick grossout gag in the movie that was a mistake to do with computers. We know it's fake when it's made out of rubber, but at least you know she really had to have slime on her face. When it's digital it might as well just be a drawing. The rest of the computery shit I thought was really good though. There's a scene involving a fly that could not have been done any other way, but looked good enough it had me questioning whether they somehow really did it.

Okay, so the computers aren't the monkey paw's curse, so what about the rating? If you've avoided this movie it might be because you read it was PG-13, the cursed watered-down rating that has been forced on so many once proud R-rated series. THE EVIL DEAD was pretty damn R (nobody gets raped by a tree in PG-13, that's the rule), Raimi was once known for his extravagant gore, and there have been almost no good horror movies ever released with that rating. (I like the remake of THE RING, that's about it.)

But my friends, I don't know how to explain this, but somehow this one works. It doesn't feel like "good for a PG-13″, it just feels like "good." If I did not know about that rating I would've never believed it. This doesn't necessarily need to have a bunch of blood (actually it does have a bunch) and it turns out that inventing new ways to be disgusting doesn't affect the rating. I would still think it would be a problem though because with a PG-13 rating you can feel safe knowing that certain things won't happen, certain lines will not be crossed, and that takes the horror out of it.

But take my word for it, lines are crossed in this movie. There are things that happen here that you don't expect to happen in any movie, let alone a PG-13. There are tricks in the movie I completely fell for. I think it's one of those decoy PG-13s they put on there to give you a false sense of security just so they can fuck with you. One act in particular - okay, it's off screen. But it is something reprehensible that you do not ever expect the hero of a movie to do. Especially when the hero is a pretty young blonde.

That brings me to my next point, which is the unexpected cleverness of the characterization in this script. The basic feel of the movie is like a spookhouse ride. It's about fun. This ain't MARTYRS. So the characters can just be types if they want to. There are a couple really hatable types in here, and Raimi could leave it at that, but then these characters show another side you don't expect, and just at the right time to make everything more uncomfortable.

More importantly Christine is subtly different from your standard horror heroine. Most women in horror movies are either idiots or saints. If you look at Laurie in HALLOWEEN, Nancy in A NIGHTMARE ON ELM STREET, Helen in CANDYMAN, Sydney in SCREAM, Kirsty in HELLRAISER... most of these ladies are goodie two shoes by design, they are supposed to have a purity that gets challenged or corrupted when they encounter true evil or whatever. They find the toughness to survive and maybe kill their attacker, but they're still good through and through.

Christine might seem the same at first - she was raised on a farm, she's nicer than everybody else at the bank, she even says she's a vegetarian and volunteers at a puppy shelter. But the nice twist is that throughout the movie she has moral lapses and temptations that are a little over the edge of what can be reasonably expected. She's still sympathetic but every once in a while she has a plan that makes you think, "Wait– really?" For example she comes very close to allowing a random old man at a diner to get his soul ripped out in place of hers. And worse.

There's alot of humor in this going too far, and I think it's really cool they would give that to a female character. I can see Bruce Campbell doing this stuff but I can't think of another woman that would.

The other thing about the script that makes it a little better than it might appear on the surface is the classic horror movie morality that (by accident, I think, since it's an old script) is very timely. The whole story kicks off with her denying an old lady a loan extension, causing her to lose her house. For Christine's own personal code it's the wrong thing to do, but she's under pressure from her asshole peers and wanting to get this promotion, so she tries to be unfeeling about it. Raimi sets it up in an interesting way because the old lady is not very nice (to say the least) and is physically repulsive, coughing snot onto Christine's desk and taking out her false teeth (which are completely rotted, by the way, even though they're false). Christine has many excuses not to feel sorry for her, but deep down she does anyway, showing her humanity. And then throughout the movie she can have a combination of fear and guilt.

This goes back to Christine's moral lapses, too, because she keeps lying and saying it was her boss that denied the extension, even though we saw that it was her own decision. Even while communicating with angry spirits in a seance she tries to pin it on her boss. Some funny shit. But of course she learns her lesson.

DRAG ME TO HELL doesn't waste its time trying to reinvent horror, and it's not nostalgic either. Okay, I counted four references to the EVIL DEADs, but it's not trying to be retro or meta or anything. It's just reviving an enjoyable type of horror that we don't get enough of in our diets, and executing that style with flair and supreme skill.

Welcome back and long live new-old Sam Raimi.

ha ha, baš se (opet) nasmejah na onaj gore 'uvod' za brusovu bradu!!! hvala trippu na tome!

inače, izgleda da je već procurio neki CAM divx snimak, jer koliko juče dobih oduševljeni sms od ace radivojevića da mu je HELL lego ko bebino dupe na nošu.

lepo je to sve što kaže vernoje, al moja očekivanja se kreću oko trojke, i u najboljem mogućem scenariju ne verujem da ću DRAGU dati više od 3+

Quote from: Ghoul on 03-06-2009, 12:18:11inače, izgleda da je već procurio neki CAM divx snimak, jer koliko juče dobih oduševljeni sms od ace radivojevića da mu je HELL lego ko bebino dupe na nošu.

lepo je to sve što kaže vernoje, al moja očekivanja se kreću oko trojke, i u najboljem mogućem scenariju ne verujem da ću DRAGU dati više od 3+

Hm, ja mislim da je ovo svetogrđe gledati na kopiji koja nije dvdrip, dok bi bilo idealno za bioskop, ali čisto sumnjam da će kod nas da zaigra. Za ovakav film 3+ je sasvim ok ocena, a možda dobaci i do četvorke (bar što se mene tiče). Inače, kažu da je skor Christophera Younga jedan od njegovih boljih, a meni se svideo i onaj za The Uninvited...

Ma, biće sigurno četvorka, petica... Odavno jedan horor nije naišao na takvo sveopšte oduševljenje. To je dobar znak.

Sam Raimi će da režira World of Warcraft:

http://www.aintitcool.com/node/41761

Pogledao sam danas u bioskopu novi Rejmijev film: Oz, veliki i moćni. Film je u redu, samo imajte u vidu da je baš za decu. Meni je lično bio dosadnjikav i dramski neuverljiv, ali verovatno sam previše očekivao. Šareno je sve to, ima par simpa momenata - uključujući i neke (slučajne?) omaže superiornoj Armiji mraka.

Quote from: Ghoul on 03-06-2009, 12:18:11
lepo je to sve što kaže vernoje, al moja očekivanja se kreću oko trojke, i u najboljem mogućem scenariju ne verujem da ću DRAGU dati više od 3+

na kraju: 3-

http://ljudska_splacina.com/2009/09/drag-me-to-hell.html

Најбоља оцјена!!!

Quote from: Виктор Дрејзен on 10-03-2013, 22:07:34
Најбоља оцјена!!!

pitao sam se da li ćeš primjetiti!