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Rising British genre filmmaker Ben Wheatley ("Kill List," "Sightseers") is set to direct a film adaptation of JG Ballard's 1975 satirical novel "High Rise" for Jeremy Thomas and Film4.

Set in a luxury ultra-modern high-rise building, the story follows a group of affluent tenants who revert to barbarism.

Cocktail parties degenerate into attacks on 'enemy' floors and once-luxurious amenities become an arena for primal and violent mayhem.

Wheatley's regular writing partner Amy Jump will also pen what is being labelled a "faithful" adaptation which aims to shoot next year in the UK.

Wheatley says: "The idea is to be true to Ballard. It is such a rich and interesting time that it seemed a shame to set it anywhere other than England... The scope of the film is exciting. It will be challenging, like Crash, but it's not as dark as Kill List. The book is pretty out there, though"

Ballard also penned the books that were adapted into Steven Spielberg's "Empire of the Sun" and David Cronenberg's "Crash".

Why can't women time travel?

From The Terminator to Back to the Future to Richard Curtis's new film About Time, movies love time travel – but it's strictly for men. Anna Smith wishes she could turn back the clock

        Anna Smith
    The Guardian, Wednesday 31 July 2013 17.24 BST   
    Jump to comments (299)

THE TERMINATOR (1984) LINDA HAMILTON, MICHAEL BIEHN
Where we're going, we don't need women ... Linda Hamilton with time-traveller Michael Biehn in The Terminator. Photograph: Alamy

Poor Rachel McAdams. Three time-travel movies and not a whiff of the action. First was 2009's The Time Traveller's Wife, in which Eric Bana played a Chicago librarian darting through time while his on-screen wife McAdams plodded on faithfully in the present. Then, two years later, came Midnight in Paris. Owen Wilson got to party in the roaring 1920s every day of his holiday, while oblivious fiancee McAdams went sightseeing. And now Richard Curtis's new film, About Time, sees McAdams stay home as her partner Domhnall Gleeson goes time-travelling in secret, in a bid to change his past and have a better future. This time it's a gift – passed down the male line of the family.

   
McAdams is not alone in being overlooked. From 1981's Time Bandits to the more recent Hot Tub Time Machine, sci-fi films have rarely allowed female characters to leave the present. When Marty McFly's girlfriend tried to come along for the ride in Back to the Future II, she was hastily sedated by the Doc for "asking too many questions". In their excellent adventures, Bill and Ted travelled to medieval times to meet some "babes"; true, the women were then permitted to time-travel – but only with male characters, and purely to serve their needs. Hardly the sort of time-travelling role models women need.
About Time - Rachel McAdams Always a time-travel bridesmaid ... Rachel McAdams and Domhnall Gleeson in About Time. Photograph: Sportsphoto/Allstar/Universal

While many of these films are immensely entertaining, it's a curious trend that shortchanges female characters and, by extension, female viewers. At first glance, you could simply put this down to the historical dominance of male heroes in cinema. It's a patriarchal world and mainstream movies aren't always quick to reflect advancements in equality. But while other areas of sci-fi were making progress – take Sigourney Weaver beating her many-jawed foes in the Alien films – the time-travel genre, ironically, stood still. Yes, as far back as 1984 The Terminator gave us a groundbreaking action heroine in Linda Hamilton, but the bouffe-haired damsel in distress was still confined to the here and now, chased by one time-traveller and bedded by the other (in order to give birth to a future saviour). And the men didn't just get to time-travel: they got to go naked, too.

This weekend in London, there's a whole festival dedicated to feminist sci-fi films. Called Women on the Edge of Time, it promises futuristic "worlds free of sexism". Tellingly, time-travel movies are absent from the programme. Some might argue that the theme is just more appealing to men. But I'm sure I'm not the only woman who fell in love with time-travel movies as a kid – and I wanted to be Marty McFly, not his unfortunate girlfriend. A time-travelling heroine would have been very welcome. Nor is it just action films. In the 1980 romance Somewhere in Time, Christopher Reeve rewound to woo a bygone Jane Seymour; in 2001's Kate & Leopold, a 19th-century Hugh Jackman raced forward into the arms of a present-day Meg Ryan.

Of course, it is still incredibly hard to get funding for a mainstream film with a female lead. This might explain why two recent movies that gave women at least a look-in at time travel were independents. Safety Not Guaranteed saw a female newspaper intern responding to a mysterious man's ad for a time-travel buddy; the whole movie turns on whether she will make the leap. Meanwhile, The Sound of My Voice featured two documentary-makers investigating a cult leader called Maggie, who claims to have come from the future to warn us about environmental issues.

Whatever the merits of these semi-exceptions, it's worth pointing out that women just don't get to have fun with time travel like men do; it doesn't seem to get them anywhere. While averting some unspeakable catastrophe is a common theme in everything from The Terminator to Deja Vu, our male travellers usually get to rearrange their personal lives, too. In fact, time travel seems to offer men an extraordinary level of control, as well as the possibility of achieving some sort of perfection – not to mention getting the girl (sidepoint: gay time-travellers are even rarer than female ones). Grandpa Biff in Back to the Future II gave his younger self a vintage sports almanac, enabling him to build a corrupt empire from strategically placed bets and thereby create a parallel dystopia. His ultimate goal? A trophy wife in the form of Marty's mother. Groundhog Day saw Bill Murray win Andie MacDowell's hand after studying her, day after repeated day. I wonder, assuming this relationship had continued, if he would have ever told her the truth.

In About Time, Curtis plays with a similar scenario. Domhnall Gleeson not only uses his talent to woo McAdams, but also to perfect his sexual technique. Little does she know how many tries it took to wow her on their first night. Admittedly, this is one of the film's funnier parts, but it also dupes its female lead to an uncomfortable degree, a trend that continues throughout. It's hard to root for a relationship when one party is concealing the extent of their power over the other. Thanks to time travel, this man has the ability to change his relationship, or erase it entirely, without his partner's knowledge.

While a similar idea became a meaty moral issue in 2004's Eternal Sunshine of the Spotless Mind, in time-travel movies it's usually just ignored or played for laughs. In fact, many time-travel heroes deceive women routinely, either for their own selfish reasons or simply mistrust. In the hands of generally male screenwriters, time travel seems to be a serious business best handled by blokes – the implication being that women are somehow too emotional to deal with it. Take the Doc's dismissive explanation after he sedated Jennifer: "She saw the time machine. I couldn't just leave her there with that information. Don't worry, she's not essential to my plan." In last year's Looper, Bruce Willis tampered with the past in an effort to save his future wife. But did we even find out her name? No. And did she even speak? Hardly.
Back to the Future II 'She's not essential to my plan' ... Elizabeth Shue, Michael J Fox and Christopher Lloyd in Back to the Future II. Photograph: Moviestore Collection/Rex

There are mainstream exceptions, of course – but astonishingly few, given the 500 or so time-travel movies out there. In 1986's Peggy Sue Got Married, a lone female became unstuck in time; in 1990's Back to the Future III, the Doc allowed his wife aboard; and in 1994's Timecop, a female agent was allowed to time travel, but always accompanied by the hero. Ten years later, Jennifer Garner woke up in the future in 13 Going On 30; that same year, Hermione briefly had the gift in Harry Potter and the Prisoner of Azkaban. And let's face it: The Girl Who Leapt Through Time, a 2006 anime adaptation of Yasutaka Tsutsui's novel, didn't really have much choice.

But wait. This month sees the release of Teen Beach Movie, a Disney film pitched as the new High School Musical. Maia Mitchell plays Mack, a teen surfer magically transplanted – with her boyfriend – into a 1960s surf movie. Does this represent some kind of progress, however slight? Possibly. Mack scoffs at old surf movies, saying: "The girls never surf as well as the boys." And her lesson to the unemancipated girls of the early 60s is simple: "Girls can do anything boys can do."

Tell that to poor Rachel McAdams.

Pogledao sam televizijski film Soje Jovanović POVRATAK LOPOVA, po drami Dušana Kovačevića. Kovačević je napisao nekoliko izuzetnih scenarija za televiziju, među kojima bih recimo izdvojio ZVEZDANU PRAŠINU, a POVRATAK LOPOVA je takođe vibrantan rad, svojevrsni "film stanja" u režiji Soje Jovanović koja međutim daleko nadilazi Kovačevićve nesporno zanimljiv tekst i nudi niz vrlo zanimljivih kako glumačkih, tako i vizuelnih bravura koje nisu uvek svojstvene televizijskoj produkciji. Lokacije koje posećuju dvojica povratnika iz zatvora su briljantno odabrane i služe kao "vremenska kapsula" tadašnjeg Beograda a Pavle Vuisić i Milan Srdoč su uspeli da ostvare odličnu buddy hemiju. Kovačević nudi briljantno razrešenje priče i zaokružuje je na zadovoljavajući način.

William Ivory je napisao televizijski film BURTON AND TAYLOR koji je obradio saradnji tada već dvaput razvedenih Elizabeth Taylor i Richarda Burtona na brodvejskoj postavci drame PRIVATE LIVES Noela Cowarda. U ovom komadu, Ivory i reditelj Laxton manje-više potvrđuju ono što se znalo o Burtonu, kao načitanom, vrednom, obrazovanom glumcu koji je bio ozbiljno narušen alkoholizmom, ali i dalje vrlo zanimljiv i studiozan. Isto važi i za Elizabeth Taylor koja je u jednoj fazi svoje karijere zbog pića i tableta postala potpuno neupotrebljiva.

Ivoryjeva priča se fokusira na njihovu saradnju koja se desila u poslednjoj godini Burtonovog života, kada je Elizabeth po svemu sudeći želela da mu se vrati i po treći put, ali nije bila u stanju da u delo sprovede i mnogo jednostavnije zadatke od tog.

Nažalost, svodeći Burtona na jednu situaciju i Elizabeth na jednu poludefinisanu želju, ovaj televizijski rad deluje kao dosta minoran isečak iz svega onoga što su ti ljudi stvorili i/ili prošli.

Dominic West i Helen Bonham Carter su naravno iskoristili priliku da fino imitiraju ove slavne glumce i šteta je što takav trud nije imao osnov u boljem materijalu.

Pikse kao inspiracija za najboljeg reprezentativca Severne Koreje:

(CNN) -- North Korea is one of the world's most mysterious and secretive states, regarded as a political pariah and at bitter loggerheads with its neighbor South Korea.

Few people are allowed past its tightly-sealed borders but footballer Ryang Yong-Gi, who was born and raised in Japan by a loyally North Korean family, is in a privileged position when it comes to entering and exiting.

The 31-year-old is captain of top Japanese club Vegalta Sendai, and also plays for the national side of North Korea -- which in the past has faced allegations of mistreatment of its sports teams after major events.

"My number one hope is for North and South Korea to become united," he told CNN's Human to Hero series.

"I think it will contribute to the development of the country in many ways. I think it will open up new possibilities beyond soccer and sports."
Watch this video

A hero to football fans in both Japan and North Korea, Ryang symbolizes the unique power of sport to break down boundaries despite deep-seated differences.

He does not talk about politics with his North Korean teammates -- "They ask me about cars or soccer magazines I have with me" -- but his own views have been shaped by his upbringing, in which he had to gain acceptance in two very different societies.


The Korean community in Japan has an uneasy relationship, at best, with the indigenous population, amid a perpetual state of mistrust on both sides.

Ongoing tensions over disputed territory -- a small group of islands situated between Japan and the Korean peninsula -- has ratcheted up the political rhetoric and fueled prejudices.

But not only has Ryang won respect for his footballing feats, helping his team from J-League division two also-rans to top-flight championship contenders, he has also achieved cult status, regardless of his background.

"I think 90% of the Vegalta's supporters don't care about whether he is North Korean or Japanese," local businessman Shuichi Kanno, a loyal club fan, told CNN.

Legendary player

"We feel he loves the team. He is a legend and his story should be remembered, even after he retires," he added.

Ryang, who has been with the club since 2004, admitted he was initially apprehensive about the reaction of fans.

"I wondered if people would cheer me, a North Korean, but once I was on the team and started playing, I felt l like I was being supported a lot," he said.

"The fans love this team, their local team, and they support me as a part of the team, maybe even more so than to other members."

Watch: Chasing North Korea's football team

Born in 1982, Ryang grew up in the city of Osaka with Korean parents, who are second generation immigrants to Japan.

Japan occupied the Korean peninsula from 1905 to 1945. Well over half a million Koreans who came to Japan during that troubled period stayed after World War II ended, including Ryang's grandfather.
He is a legend and his story should be remembered, even after he retires
Shuichi Kanno

The subsequent Korean War led to two bitterly divided states in the North and South, and Korean immigrants left in Japan also split into separate communities.

Strict loyalty

One of the consequences was special North Korean schools, where the DPRK's flag could be seen flying in the playground, with portraits of leaders such as Kim Il Sung and Kim Jong Il on the classroom walls.

Strict loyalty to that regime is engendered, and that is the education that Ryang received up until high school when, thanks to his sporting and academic achievements, he entered the mainstream Japanese university system.

But the limited range of sporting opportunities in his early schooling also played an inadvertent role in his subsequent professional career.

"My father introduced me to football when I was two or three years old," he recalled.

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"Then I went to North Korean schools where only football was available, and myself and other students would play from morning to night -- so in that sense, I think I was blessed."

Ryang was also blessed with a formidable talent and, on leaving education in 2003 found his place in the Vegalta Sendai squad, then playing in the J-League second division.

It was not long before international recognition arrived -- though not for Japan ("I have never thought about it") but through his upbringing and family ties, for North Korea.

Representing his country in Macao, Ryang scored in a 2-0 win over South Korea in the semifinals of the East Asia Games.

Winning acceptance

He admits his enthusiasm to impress, to win acceptance as an "outsider" got the better of him as he charged around the pitch in his midfield role.

"I played in a reckless manner. I felt the need to impress so they would invite me again to play in the national team."

Ryang did impress enough to secure further call-ups, one of a small cadre of Japan-based players with a similar background, who represent North Korea.

He was top scorer as North Korea won the 2010 AFC Asian Challenge Cup, and also took part in a successful qualification campaign for that year's 2010 World Cup finals.

But it is in club football in the highly competitive J-League where he has made the biggest impression, with Vegalta emerging as challengers for the first division title in recent seasons.

Ryang has been an ever present and key member of the side, but it was the shattering events of March 11, 2011 -- when an earthquake and tsunami hit Japan -- which firmly cemented him as a fan favorite.

Sendai was near the epicenter of the quake and Ryang was out driving when it hit. "I thought my tires had gone flat or I had driven over the curb, but the shaking continued and I saw the windows of shops shaking too," he recalled.

"I knew it was a bad one and rushed home to see my wife."
Soccer is part of my life, and it's also my job and I never get tired of it
Ryang Yong -Gi

Earthquake disaster

Ryang and his heavily pregnant wife spent the night sleeping in their car, fearful of further damage to buildings in an urban landscape that suffered severe wreckage.

In the aftermath of the disaster, Ryang and his teammates made frequent visits to affected areas to lend support.

The performances of the team also boosted morale, eventually finishing fourth in the J-League with Ryang providing inspiring captaincy,

Kanno, a restaurant owner in the coastal town of Kesennuma which was heavily hit by the tsunami, said Ryang and his teammates made all the difference in those terrible times for the area.

"During the tsunami year, Vegalta and his play gave us an energy, whether they won or lost," Kanno said.

"We are so grateful that he led the team to fourth in the league that year.

"We also would like to thank him that he has stayed with our team despite getting good offers from other teams (in the J-League)."
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Ryang's international career has involved intermittent trips to Pyongyang, the capital of North Korea, where he joins up with the domestic based players.

It is seen as one of the most secretive setups in world soccer, due to the DPRK government's isolationist policies.

Affluent lifestyle

However, aside from their interest in the trappings of the affluent lifestyle in Japan, Ryang said his teammates were well acquainted with the action from major football leagues such as the English Premier League and Spain's La Liga.

"Their in-depth knowledge of famous players demonstrates to me that they do watch a lot of soccer on television," he revealed.

So when North Korea qualified for the 2010 World Cup finals in South Africa, drawn to play mighty Brazil in the first group match, it's safe to say they would have known all about Kaka and Robinho and their teammates.

Ryang missed out on selection for the tournament, though he trained with the squad as cover. Despite his personal disappointment, he describes North Korea's narrow 2-1 defeat by the five-time world champion Brazil team as his "most memorable match, a moving experience."

That match was a high point -- but North Korea's World Cup ended in embarrassment, losing 7-0 to Portugal and then 3-0 to the Ivory Coast.

The squad and head coach Kim Jong Hun were reportedly publicly humiliated by government officials on their return home, though in August 2010 soccer's world governing body halted its investigation into the claims after failing to find enough evidence.

In a statement on its official website, FIFA described the allegations as "baseless."

Role models

Ryang had starred in North Korea's lifting of the AFC Asian Challenge Cup in the World Cup year, contributing goals from midfield ("every goal felt amazing") and also helped the team retain the trophy last year.

2012 was also to prove his most successful season at club level, with Vegalta Sendai finishing second in the league, beaten to the title by Sanfrecce Hiroshima in the closing stages of the season.

Despite being in the autumn of his career, Ryang has entertained no thoughts of retiring and retains a real love for his sport.

"Soccer is part of my life, and it's also my job and I never get tired of it," he said.
My number one hope is for North and South Korea to become united
Ryang Yong-Gi

His role models are players such as Andres Iniesta of Barcelona and former Serbian great Dragan Stojkovic -- both attacking midfielders in his mold.

Ryang admits that Stojkovic, who is now manager of J-League side Nagoya Grampus, was his hero from boyhood days: "I've always admired him."

Like Stojkovic, Ryang has assumed a captaincy role with his club and takes his responsibilities incredibly seriously.

"I need to have a strong presence in the team, and I also need to be trusted by other players," is his philosophy on leadership.

"I make sure that I run the most, try to stay in the game all the time and make a big effort to change the outcome."

He might be a dogged hard worker on the pitch, but off it he does indulge in a passion he shares with many football stars.

"I love cars. I do not have any favorite model, but when I am allowed to test drive one, I love it instantly and end up buying it," he says.

"As I am not a player blessed with speed, I tend to drive a fast car. Everyone tells me I drive fast and rough."

CNN's Chie Kobayashi contributed to this article.

Pogledao sam POPULAIRE Regisa Roinsarda, film koji je hajpovan kao francuska parafraza MAD MENa i nadovezivanje na radove Michela Hazanaviciusa. Nažalost, osim što deli neke članove ekipe sa Hazanaviciusom, ovaj film ne dobacuje do njegovih radova a sa MAD MENom sem - uslovno rečeno - epohe, nema nikakve veze. Ovo je pre svega znaik kratkog pamćenja među kritičarima jer je najtačnija referenca na koju se POPULAIRE nadovezuje zapravo izvanredni DOWN WITH LOVE Peytona Reeda.

POPULAIRE je žanrovski profilisan kao romantična komedija, sa nešto većim akcentom na romansu nego na komediju. Međutim, za razliku od DOWN WITH LOVE koji je uspeo da izuzetno duhovit i emotivan u isto vreme, POPULAIRE je izrazito hladan, bez opipljive emocije među glavnim junacima, i sa ozbiljnim problemima na nivou motivacije.

Roinsard je kao debitant uspeo da napravi prilično šarmantnu fizičku produkciju ali ne nudi neke naročito rediteljske bravure kakve je imao Hazanavicius u OSS117 ili Reed u DOWN WITH LOVE. Rekao bih da je uspeo da rekreira izgled starih flmova, doduše sinkretički prilazeći žanrovima (recimo, ima jedan omaž filmu VERTIGO koji se potpuno pogrešno čita) ali nije uspeo da napravi adekvatnu repliku na nivou ritma ili lucidnijeg kadriranja. Otud smatram da su pohvale Roisnardu preuveličale domet pokazan u ovom filmu.

Romain Duris i Deborah Francois su šarmantni u glavnim ulogama, a Berenice Bejo se pojavljuje kratko, više da se zapljune kao Hazanaviciusova supruga i pridruži ovaj film tom miljeu. Međutim, njihov šarm ne može da nadoknadi ozbiljne nedostatke u pogledu motivacije junaka za niz vrlo neobičnih gestova. Taj fundamentalni nedostatak čini da ovaj prijatan film nikada zapravo ne uspe da se ostvari u pripovedačkom pogledu.

* * 1/2 / * * * *

Pogledao sam SIMON KILLER Antonio Camposa, američki indie film smešten u Pariz, priču o sunovratu naslovnog junaka, akademskog građanina slomljenog srca koji zaluta na Pigal, upoznaje prostitutku zlatnog srca i kreće u opasnu romansu sa njom. Antonio Campos nudi vrlo zanimljivu atmosferu, iz Brady Corbetta izvlači zanimljivu ulogu kao i iz svih ostalih, ali na nivou celine i priče ipak na kraju nema šta da kaže. SIMON KILLER je prototip onoga što Campos može da pruži, i to je dosta, ali se čini da bi sa nekim veštijim scenarijem postigao više. Problem SIMON KILLERa nije u tome što nema priču, već upravo u tome što kada iz atmosfere i zanimljive glume ispliva priča, gledamo nešto prilično simpilifikovano i klišetizirano što nije doraslo "realizmu" kojim se Campos bavi.

* * 1/2 / * * * *

Stari o stranačkom zapošljavanju.

http://www.standard.rs/dimitrije-vojnov-prodaja-konopca-i-osveta-gradjana.html

U svoj toj priči je meni glavna nedoumica to koji je motiv Lazaru K. da prihvati poziciju koja teško da će mu doneti išta sem mnogo nerviranja, razvlačenja po sumnjivim medijima i mržnje od strane građana. Ajde da je to neki deda pred penzijom koji hoće da ode u mirovinu uz vatromet itd. ali Krstić je baš u životnom dobu kad treba da stiče reputaciju i da grabi uz hijerarhijske lestvice ozbiljnih firmi. Da li će mu sa 34-5 godina referenca da je bio ministar finansija jedne privredno i politički polupane države biti važna kod ozbiljnih igrača gde će želeti da radi?

Можда није капацитет да граби уз хијерархијске лествице озбиљних фирми, па му је ово сад џекпот. Реално, на страну хајп, нема он богзна какве референце, а ако му је ово била најбоља понуда као де факто одскочна даска, онда џебига.

Наравно, увек је могуће да је пре свега (ш)пијун. 

Pa, on ipak ima samo 29 godina, dakle, verujem da je dobro pozicioniran da traži posao u nekoj ozbiljnijoj firmi nego što je vlada Srbije a i da reference tek treba da stiče.

Dobro, možda je špijun.

Masonerija! Cista masonerija!
Ne, bez zezanja, dal moze neko se seta po politickom vrhu jedne male demokratijom dresirane drzavice bez dozvole masonerije?

Mislim da on verovatno nije kapacitet za neke ozbiljnije poslove u tim firmama kako kaže John jer se olako dohvatio posla koji jako teško može da uradi dobro. Možda grepšim, ali čak i kao genijalan ministar finansija on ne može da utiče na niz drugih faktora koji u tom ambijentu treba da se odigraju kako bi država ekonomski prodisala. Drugo, jako je sumnjivo da bi oni slali nekog iole ozbiljnog kadra da vrši uticaj na srpski finansijski sistem kada to mogu da rade i sa nekima koji postoje ovde. To kažem u vezi sa Johnovom teorijom o Lazaru kao špijunu. Dinkić je već čitavu deceniju udarna pesnica zapadnih ekonomskih interesa, stekao je rutinu i kontakte i nema razloga da se sklanja on ili neko od njegovih uveoka. Međutim, možda je razlog banalan, recimo, nije se snašao u Americi, i želi da živi ovde, a onda mu je posao Ministra finansija velika referenca ako posle te funkcije hoće da uđe u neki konsalting i upravni odbor ovdašnjih ispostava stranih korporacija. Ove godine u kojima se nalazi s jedne strane jesu dobre za prikupljanje refrenci ali su isto tako godine za donošenje važnih životnih odluka u vezi sa formiranjem porodice, izborom gde će ga živi i sl.

Quote from: crippled_avenger on 03-09-2013, 14:21:25
Ove godine u kojima se nalazi s jedne strane jesu dobre za prikupljanje refrenci ali su isto tako godine za donošenje važnih životnih odluka u vezi sa formiranjem porodice, izborom gde će ga živi i sl.

Upravo. I zato sam i pomislio, zar da mu referenca bude jedno verovatno nesrećno iskustvo u Dačićevoj vladi a mesto na kome će da živi bude Srbija? Posle odličnih akademskih rezultata tamo gde se to ipak gleda? It daz not kompjut. Naravno, moguće je da je čovek samo iskren patriota a ja to u svom cinizmu propuštam da vidim.

Nadri-teorijsko objašnjenje sa e-novina zašto svako sa tastaturom treba da bude Vučićev lakej.

http://www.e-novine.com/srbija/srbija-tema/90009-Vodi-kroz-graanistiku-skolastiku.html

Quote from: Meho Krljic on 03-09-2013, 11:09:12
U svoj toj priči je meni glavna nedoumica to koji je motiv Lazaru K. da prihvati poziciju koja teško da će mu doneti išta sem mnogo nerviranja, razvlačenja po sumnjivim medijima i mržnje od strane građana. Ajde da je to neki deda pred penzijom koji hoće da ode u mirovinu uz vatromet itd. ali Krstić je baš u životnom dobu kad treba da stiče reputaciju i da grabi uz hijerarhijske lestvice ozbiljnih firmi. Da li će mu sa 34-5 godina referenca da je bio ministar finansija jedne privredno i politički polupane države biti važna kod ozbiljnih igrača gde će želeti da radi?

Ako mene neko išta pita to jeste referenca, ministarska pozicija uvek dobro dođe u CV-ju. Koristila je, recimo, i Boži Đeliću. Mislim da se previše bavite ''visokom politikom'', a ne uzimate u obzir naprosto ljudske motive. Možda je sve onako baš kako izgleda - Vučić je svojevoljno odlučio da pruži šansu mladom lavu, a lavu je proradio patriotizam. I neko spomenu masone...oni su debelo precenjeni, nemaju  uopšte ozbiljan uticaj na političke događaje. Složio bih se jedino da je Dinkić pesnica američkog interesa, ali to ne znači da su stvari tako determinisane i da će sad Vučiću da leti glava, jer je doveo nekog anonimusa. Pritom, zaboravljate na činjenicu da je tranzicija u Srbiji prošla, privatizacije su obavljane i pitanje je šta tu Dinkić ima još da opljačka. On je ispušena muštikla

Rush   
September 3, 2013 | 08:51AM PT
Peter Debruge

Mozart vs. Salieri. Kennedy vs. Khrushchev. Gates vs. Jobs. Add to that list of epic clashes Formula 1 adversaries James Hunt and Niki Lauda, whose larger-than-life bout for the 1976 world championship title fuels Ron Howard's exhilarating "Rush" — not just one of the great racing movies of all time, but a virtuoso feat of filmmaking in its own right, elevated by two of the year's most compelling performances. It's high-octane entertainment that demands to be seen on the bigscreen, assembled for grown-ups and executed in such a way as to enthrall even those who've never watched a race in their life.
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With the film opening opposite "Prisoners" on Sept. 20, audience skepticism could give "Rush" a slow start in theaters, as folks question why they should care about such a subject — or wonder what Howard, who has spent the past decade churning out respectable middle-brow entertainments, can bring to the material. But if Universal gives word of mouth a chance to build (screening the film at the Deauville and Toronto film festivals is a good start), they should have a huge worldwide phenomenon on their hands.

The hook couldn't be simpler: "Rush" pits two personalities from opposite ends of the spectrum against one another in a sport where the stakes are no less than life and death. An Austrian with an innate gift for racing but no sense when it comes to social interaction, Lauda (as played by "Good Bye Lenin's" Daniel Bruhl) is the pragmatist to Hunt's British playboy. Already plenty dashing in real life, bad-boy Hunt proves even more irresistible in the hands of "Thor" star Chris Hemsworth, who makes Hunt's driving look like the least reckless thing about him.

Whereas Hollywood screenwriters tend to give us clear-cut heroes and villains, real life deals in far more ambiguous rivalries, and Peter Morgan's script manages to deliver complicated personalities with elegance and efficiency, relying on these two fine actors to flesh them out onscreen. The two racers meet in the lower divisions, where Hunt sparks a deep animosity with Lauda by pulling a risky move that could have gotten them both killed. However irresistible the call of glory, "Rush" makes clear the potential cost of ego by depicting an accident early on: The car has smashed through a barrier and the driver is nowhere to be seen, replaced by an ugly smear running down the length of the hood.

"Twenty-five people start Formula 1, and each year, two die. What kind of person does a job like this?" asks Lauda at the outset. Those who know what happens to Lauda can appreciate the gravity of his question, which perfectly conveys the edge-of-your-seat incredulity with which sane, feet-on-the-ground types watch such races. Nothing could be worth putting oneself in such danger, even in ideal driving conditions, and yet, the visceral thrill is undeniable — and the mere presence of a worthy adversary enough to push great racers to peak performance.

Modern audiences have been conditioned by the sheer volume of bad screenwriting they encounter day in, day out to be wary of scripts that articulate their own themes as eloquently as humanly possible. "Rush" is such a film, a rare thing where every utterance is "on the nose," and yet so perfectly calibrated, it would be a crime to force the characters to bury their thematic concerns in subtext. Who needs inane reality-show naturalism when you can have life-and-death philosophy delivered at 200 miles per hour?

As Hunt cavalierly describes his car (in Morgan's words, of course), "It's just a little coffin, really, surrounded by high-octane fuel all around — for all intents and purposes, it's a bomb on wheels." No wonder the ladies find him so damned sexy: Every time at the wheel could be his last. Even Lauda, with his pinched-in cheeks and rat-like face, has spent more time on the brink of death than any sane mortal hopes to experience in a lifetime. Hunt seems to view the time between races as bonus rounds, to be lived to the fullest, and the movie doesn't shy away from depicting his R-rated habits — or the streak of spontaneous romanticism that inspires him to propose to model Suzy Miller within moments of meeting, condensed from a courtship of several weeks in real life. (As Miller, Olivia Wild makes a strong enough impression one can't help but envy Hunt's chutzpah.)

"Rush" works so well because Lauda embodies everything Hunt isn't, and though he too has the good fortune of meeting and marrying a compatible woman (Alexandra Maria Lara) during the 1976 season, their relationship signifies something safer, more calculated and built to endure. Both racers buy their way into Formula 1, where Lauda engineers a faster car, but Hunt embodies the reckless spirit audiences have come to love. It would be too easy to paint the Germanic pragmatist as the villain here, but the film is more balanced than that. It's as if two completely antithetical philosophies are on the line, and the only way to settle the dispute is on the track.

The thrill of "Rush" would stall if the off-road scenes were any less dynamic, but of course, it's the racing moments that take the film to the next level. Howard seizes the opportunity to innovate in these sequences, denying the boredom inherent in watching fast cars zip round and around the same track, and integrating compact digital cameras directly into the automotive machinery itself. He takes audiences places that human eyes could never fit as the cars hurtle forward at top speed, pioneering an intuitive visual logic that flows from the stands to the cars to the subjective perspective of the racers themselves — never more frightening than during the climactic Mount Fuji Circuit race, where rain reduces visibility and the drivers may as well be steering by "the Force."

Though "Rush" extends across the duration of Hunt and Lauda's hyper-competitive 1976 season, no two races resemble one another, as Howard and editors Daniel P. Hanley and Mike Hill find ways to condense an astounding amount of story into a hyper-efficient 123-minute running time. Another filmmaker might have made it shorter still, and yet, Howard recognizes the vitality of every moment, how any sacrifice would diminish what makes these two characters so relatably human. Meanwhile, the racing footage is white-knuckle stuff, even — or perhaps especially — when one of them is out for the count, watching on TV while he has his lungs vacuumed in hospital.

To witness this level of storytelling skill (applied to a subject only a fraction of the public inherently finds interesting) is to marvel at not only what cinema can do when image, sound and score are so artfully combined to suggest vicarious experience, but also to realize how far Howard has come since his directorial debut, 1977's bang-up "Grand Theft Auto." The technique is so cutting-edge, it's impossible to tell where the practical photography ends and visual effects begin — and besides, the two leading men are so enthralling, audiences' minds have little time to drift away from the human-interest story at its core.

Too often in the intervening years, Howard has played it safe, but here, his choices are anything but obvious. He embraces the power of music to heighten the experience, but goes the opposite direction that one might expect with it, using Hans Zimmer's cello-driven score to steer things to a deeper place. The same goes for the story itself: Who else would have imagined Formula 1 as an appropriate conduit for existential self-examination? And yet, you've seldom felt more alive in a movie theater than you will experiencing "Rush."
Film Review: Ron Howard's 'Rush'

Reviewed at the Landmark, Los Angeles, Aug. 22, 2013. (In Toronto Film Festival — Gala Presentations, Deauville Film Festival.) MPAA Rating: R. Running time: 123 MIN.
Production

A Universal Pictures release of a Universal Pictures, Cross Creek Pictures presentation with Exclusive Media in association with Imagine Entertainment of a Revolution Films/Working Title/Imagine Entertainment production. Produced by Andrew Eaton, Eric Fellner, Brian Oliver, Peter Morgan, Brian Grazer, Ron Howard. Executive producers, Guy East, Nigel Sinclair, Tobin Armbrust, Tim Bevan, Tyler Thompson, Todd Hallowell. Co-producers, Anita Overland, Jim Hajicosta, Daniel Hetzer, Kay Niessen, Jen Meurer. Co-executive producers, Mark Mallouk, Peter Mallouk.
Crew

Directed by Ron Howard. Screenplay, Peter Morgan. Camera (color, widescreen), Anthony Dod Mantle; editors, Dan Hanley, Mike Hill; music, Hans Zimmer; music supervisor, Nick Angel; production designer, Mark Digby; supervising art director, Patrick Rolfe; set decorator, Michelle Day; costume designer, Julian Day; sound (Dolby Digital/DTS/SDDS), Danny Hambrook; sound designer, Markus Stemler; supervising sound editor, Frank Kruse; re-recording mixers, Stefan Korte, Martin Steyer; visual effects supervisor, Jody Johnson; visual effects producers, Moriah Etherington, Alex Hope; visual effects, Double Negative London, Double Negative Singapore, Pixomondo; stunt coordinator, Niki Faulkner; associate producer, Louisa Velis; second unit director, Todd Hallowell; second unit camera, Michael Wood; assistant director, Lee Grumett; casting, Nina Gold.
With

Chris Hemsworth, Daniel Bruhl, Olivia Wilde, Alexandra Maria Lara, Christian McKay. (English, German, Italian dialogue)

It isn't enough that many critics on the Fall film festival run have been singing its praises, now Alfonso Cuarón's "Gravity" has found another major supporter - filmmaker James Cameron.

The "Avatar" and "Aliens" director know a lot about making space movies, and famously doesn't mince words. His reaction to the movie? He tells Variety:

    "I was stunned, absolutely floored. I think it's the best space photography ever done, I think it's the best space film ever done, and it's the movie I've been hungry to see for an awful long time ... What is interesting is the human dimension. Alfonso and Sandra working together to create an absolutely seamless portrayal of a woman fighting for her life in zero gravity.

    I think it's really important for people in Hollywood to understand what was accomplished here ... I'm sure Alfonso had a real uphill battle with the studio, with everyone involved, to get it the way it needed to look. But he knew in his mind how it needed to look, and he went after it."

Pogledao sam THE EAST, novu saradnju Brit Marling i Zal Batmanglija. Nažalost, ovaj film sa kojim je Batmanglij napravio mali korak prema mejnstrimu, u produkciji neprežaljenog Tony Scotta, predstavlja veliki korak unazad za njegovu reputaciju. U THE EASTu naime, Batmanglij pokazuje da je THE SOUND OF MY VOICE zapravo vrlo lako mogao biti slučajnost. THE EAST se u pogledu odnosa među junacima bavi vrlo sličnim stvarima kao THE SOUND OF MY VOICE. Ponovo je reč o kultu u kome harizmatični vođa susreće undercover članove i uspeva da ih u potpunosti zavede svojim idejama, da ih potvrdi pred njima i navede ih da ga iskreno podrže. Nažalost, ovde je mehanika odnosa među likovima sličnija nekom generic glavnotokovskom trileru nego intrigantnoj psihološkoj studiji kakvu je snimio ranije.

Isto tako, sama tema eko-terorizma prikazana je kao skup opštih mesta. Koliko-toliko intrigantni početak pretvoren je u freakshow u kome članovi terorističke grupe do grotesknih granica eksternalizuju svoju ideologiju a u kasnijim delovima stvar postaje bedno melodramatična kada se ispostavi da grupu čine potomci velikih zagađivača. Ako je sam finiš SOUND OF MY VOICE doneo jedan preokret koji je bio lobovanje, ovde svaki veliki preokret lako može da se anticipira upravo ako gledalac ukalupljeno misli.

Brit Marling u ovim okolnostima nudi solidnu rolu, ali upravo intenzitet opštih mesta zahteva i harizmatičniju glumicu koja ima jači mejnstrim kapacitet dok Ellen Page ostaje neiskorišćena.

Zal Batmanglij na nivou realizacije pojednostavljuje svoj stil, približava ga mejnstrimu taman u dovoljnoj meri da pokaže koliko zapravo ne zna i stilski THE EAST ostaje na pola puta, sa nekoliko nedopustivih faulova, naročito u formi potpuno nepriličnih montažnih sekvenci koje su jako daleko i od dobrog ukusa i od njegovog rukopisa.

Naravno, uprkos svim greškama i razočaravajućem rezultatu, THE EAST nudi povremena podsećanja na ono što Batmanglij i Marling mogu da pruže, ovo uprkos svemu ipak jeste njihov film i samim tim je posrnuće još bolnije. Jedna od zanimljivih osobina je to što Batmanglij okuplja dobru glumačku ekipu ali Brit Marling ostaje u centru pažnje, kao da nije sposoban da snimi film sa više centralnih likova tako da ostali praktično ostaju neiskorišćeni iako su imali potencijala.

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Pogledao sam KICK-ASS 2 Jeffa Wadlow. Wadlow je jako dobro, jako vešto, svojim uličarskim B-stilom nasledio Matthew Vaughna i posle njegovog uštirkanog KICK-ASSa koji se jako trudio da bude nestašan ali je očighledno polazio iz vrlo "čistog" polazišta, napravio film koji je "prljav" od početka do kraja. Tome je doprineo svakako i njegov minuli rad, filmovi kao NEVER BACK DOWN koji su bili nepretenciozni, mladalački i namenjeni nižim slojevima stanovništva,

Vaughn i sam Millar su u prvom KICK-ASSu pošli iz jedne postmoderne pozicije autora koji su superiorni u odnosu na žanr i rezultat je bio priličnmo dobar. Međutim, Vaughn je postigao još bolji rezultat u X-MEN: FIRST CLASS kada je dodatno prilagodio ambicije materijala sa vlastitim rukopisom, odnosno pronašao više tačaka u kojima se iskoračuje iz stripa. Wadlow međutim prilazi KICK-ASSu potpuno ravnopravno, nimalo nije "iznad" materijala, i neprikreveno ga zabavlja sve ono što na nivou ideja dolazi iz stripa.

Wadlow stvara kontekst u kome koncept KICK-ASSa kao "realističnog" stripa o ljudima koji preuzimaju model superheroja iz popularne kulture, ipak može da apsorubuje likove kao što je Mother Russia, što recimo nije uspelo Hensleighu u PUNISHERu kada je želeo da uvede Russiana kao henchmana.

I sve to je još realizovano dosta beskompromisno, na malom budžetu od tridesetak miliona koji je Wadlowu dao veliku slobodu. U tom smislu, povremeno trapav CGI uopšte ne smeta jer su ideje na koje je primenjen jako efektne.

Sam nastavak ima svoje mesto unutar kulture nastavaka strip-ekranizacija. Hit Girl ovde ima ulogu Supermana iz drugog dela, isto tako postoji i motiv formiranja superherojske ekipe kako bi se porazio udruženi supervillainski poduhvat. Naročito je zanimljiv pseudo-origin story u kome Chris D'Amico prestaje da bude Red Mist i postaje Motherfucker.

Kao da su bili svesni da će KICK-ASS 2 osrednje proći na blagajnama, autori su dobro zaključili celu priču, dali joj jasnu poentu. Uprkos tome što sigurno ima štofa za još nastavaka, čini mi se da je možda baš ovo pravi happy end za sve koji su uključeni, Wadlow je dobio ponudu da radi X-FORCE, film se zatvorio na adekvatan način, nije obezvređen beskrajnom eksploatacijom.

I naravno, ako izuzmemo ovogodišnji WOLVERINE, KICK-ASS 2 je jedan od zaokruženijih Marvel-related filmova poslednjih godina.

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Lepo. Pogledam kad stignem!!!! Naravno, za Wolverine se nećemo složiti ali dobro, ljudi smo 

Bićemo ljudi, iako smo Srbi...

Interesuje me zna li neko na ovom forumu nešto o Branku Ćeloviću, režiseru koji je snimio jedan jedini dugometražni film "Bokseri idu u raj". Očito da je umro iste godine nakon što ga je kompletirao, pretpostavljam da je srčka. Na osnovu njegovog jedinog filma, čini se da je mogao puno.
Njegova udovica je scenograf čini mi se, ili nešto drugo, uglavnom i ona je radila na filmu.

Stari se oglašava povodom Parade i skorašnjih događaja iz tog asortimana

http://www.standard.rs/dimitrije-vojnov-dvosekli-mac-ili-politicka-upotreba-homofobije.html

Pogledao sam THE WORLD'S END Edgara Wrighta, završni deo Cornetto trilogije filmova. Za razliku od prva dva, u kojima su se Wright i Pegg bavili britanskom interpretacijom američkih žanrovskih tradicija, ovde se bave modernom, gotovo amerikanizovanom interpretacijom britanskih. U tom pogledu, Wright obrće svoje ciljeve ali i nudi rezultat koji je ako ne isključivo slabiji a ono nesumnjivo manje zanimljiv u odnosu na ono što je radio ranije.

Naime, invazija zombija i američki buddy cop flick su delovali jako efektno u britanskom ambijentu, kome to nije pristajalo a ovog puta imamo žanrovsku matricu koja je prilagođena britanskom ambijentu, naprosto zato što je u njemu i nastala, pa film iskoračuje mnogo manje iz onoga što smo već videli u DOCTOR WHO ili u QUATERMASSu. Ono po čemu se suštinski razlikuje jeste što sada Wright ne izbegava produkciono komplikovanije scene što je bilo svojstveno tim serijalima, već uživa u prikazima vrlo zanimljivih fizičkih konfrontacija i sl.

Drugi problem filma jeste ansambl likova kojima su okruženi Pegg i Frost. Likovi su zanimljivi, glumci koji igraju su sjajni, ali čini se da su manje-više motivi tih junaka ipak malo duplirani i da nije bilo potrebe da kanonski duet ima još tri pratioca. Svakako da su neki od tih likova neophodni, ali nisu svi neophodni tako da neki od njih opstaju tu više na bazi glumačkih bravura i inteligentnih dijaloga nego po tome što su bitni za zaplet. Najjači kandidat za izbacivanje je lik prodavca automobila kog igra Eddie Marsan.

No, Edgar Wright i Simon Pegg su napisali inteligentan scenario koji pokazuje njihovu potrebu da se u završnom filmu pozabave temom starenja i nostalgije koja im nije svojstvena, i rekao bih da svi ovi bazični problemi zapravo proističu iz njihove potrebe da možda i silom povežu svoju elegiju sa nekom žanrovskom matricom koja se očekuje. Čini se da po prvi put junaci imaju potpuno paralelnu sudbinu u odnosu na ono što je "žanrovski" domen. Štaviše, žanrovska priča je upravo u prvom planu kao ideološka refleksija problema junaka i to je inteligentan aspekt, međutim ono što nedostaje je instinktivno povezivanje tog žanrovskog i ideološkog ključa sa melodramom junaka. Slično HOT FUZZu i u THE WORLD'S ENDu, britanska varošica postaje poprište velikog žanrovskog zapleta, ali ovog puta to je zaplet koji je i inače karakterističan za te ambijente, i odavno je korišćen za reflektovanje kontradikcija iste te varošice. Samim tim, utisak junaka koji imaju kada se suoče sa "body snatchingom" nije preterano autentičan, a u SHAUNu i HOT FUZZu je upravo taj jedinstven odnos junaka sa zapletom bio ključni adut.

Sve u svemu, čini se da je THE WORLD'S END ipak drugačiji od SHAUNa i FUZZa po tome što ga je Wright snimio između dva svoja holivudska projekta, i da je samim tim za razliku od filmova sa kojima se probijao, ovo više njegov "usputni" rad.

No, sve ove primedbe na stranu, THE WORLD'S END je vrlo dinamičan, zabavan i pametan kako na nivou pojedinačnih scena i rediteljskih rešenja tako i na nivou celine u formalnom pogledu. Ono što umanjuje značaj ovog filma upravo jesu SHAUN i FUZZ koji su podigli standard očekivanja od Wrighta i njegovog dela scene uopšte. Međutim, dijalozi su britki kao malo gde a inscenacija pojedinih situacija je izvanredna, gotovo jackiechanovska u svojoj baletskoj preciznosti. Kao i inače, Wright je majstor detalja i oni ovde dobijaju zasluženo mesto kao i u ranijim filmovima.

SHAUN i FUZZ su se nametnuli kao filmovi za više gledanja. Čini mi se da zbog gorenavedenih problema END sigurno ima manji potencijal za to. Ali to trebi proveriti posle drugog gledanja.

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Ahahahahah, jaka

Quote
Imali smo različlite
Probleme s težinom
Mi punili žlice čorbom
A vi heroinom

Dobra, dobra. Mislim da Biljana S. nije shvatila inicijalnu šalu, ali to me od nje baš ne iznenađuje previše. 

To je nešto potpuno nevezano za nju nego novine nisu dobro prenele. Ognjen Šestić je napravio neke stihove o toj svađi "narkomana" i "debelih" i ja sam to njemu poslao kao odgovor u stihu. Uopšte nije upućeno Biljani.

Tok cele priče je bio potpuno drugačiji od onoga kako su prenele novine jer su oni to onako dosta ofrlje prinscreenovali, a Biljanine tvitove nisu ni uhvatili. Ali je suština manje-više to.

Pa, dobro, od Kurira ne očekujem preteranu preciznost u izveštavanju.  Ali stihovi su sjajni.

Twitter ne dozvoljava da se izrazim u omiljenoj formi, desetercu.

Američke socijalne mreže dizajnirane da zatiru srpstvo!!!!!!!!!!!!



Tako nekako bi mogao da glasi naslov u domaćim novinama a koji bi se bavio ovom tvojom izjavom.

Očekujem da nam Mehmet ovo rastumači...

http://www.darkhorizons.com/news/28540/xbox-one-vs-ps4-performance-debate-rages

Jedna malo starija ali nažalost još uvek vrlo aktuelna tema, konačno online

http://www.citymagazine.rs/u-vazduhu/urban-flash/4712/dimitrije-vojnov-diskrecija/

Quote from: crippled_avenger on 09-09-2013, 21:23:04
Očekujem da nam Mehmet ovo rastumači...

http://www.darkhorizons.com/news/28540/xbox-one-vs-ps4-performance-debate-rages

U ovakvim stvarima je dokaz u pudingu, to jest videćemo u okviru prvih godinu dana kako se ponašaju cross platform igre na jednoj a kako na drugoj kutiji. U aktuelnoj generaciji, Sony je imao jasnu i nedvosmislenu prednost u sirovoj snazi pa je većina kros platform igara bolje radila (i izgledala) na Xboxu 360, što zbog nekih hardverskih detalja (Xbox je imao fleksibilnije dodeljivanje memorije, kao i hardverski antialiasing), što zbog činjenice da je Xbox ipak samo DirectX PC u kutiji - dale relativno poznata platforma većini programera koji se bave igrama - a Sony je posle PS2 koja je i sama bila egzotičan sistem došao na tržište sa Cell arhitekturom koju su mnogi morali da podrobno izuče pre nego što su pronašli načina da je iskoriste optimalno.

U tom smislu, u narednoj generaciji je teren malo ravniji jer su i PS4 i Xbox One praktično samo x86 računari u kutiji, tako da je prednost trenutno na Sonyjevoj strani. Ali to zaista u praksi ne mora ništa da znači. Videćemo.

Dodaću da je jasno da nema nikakve korelacije između "jakosti" konzole i kvaliteta igara na istoj. Playstation 2 je bio najslabija konzola svoje generacije pa je bio najuspešnija, sa najvećim brojem dobrih igara od svih.

Pogledao sam THE BLING RING Sofie Coppole, film u kome je njeno foliranje potopilo jednu izvanrednu temu i rezultiralo trećerazrednim "festivalskim" filmom. Sam epitet festivalskog filma zapravo sugeriše da je reč više o galerijskom nego o bioskopskom delu i to bi bilo potpuno u redu da je Coppola uspela barem u tom domenu da se snađe. Šteta je što ni tu formu nije ispratila kako treba, kada već nije snimila punkorvni bioskopski film koji bi šire komunicirao.

Ovo je poslednji film pokojnog Harrisa Savidesa, DPa zaslužnog za izgled Van Santove "young death" trilogije koji nažalost nije uspeo da sprovede u delo u ovom filmu. THE BLING RING više liči na televizijski film nego na atmosferičnu studiju života mladih ljudi kakvim se bavio Van Sant. Slično Van Santu, Coppola pokušava da izbegne konvencionalnu naraciju i fokusira se na razne situacije iz kojih bi trebalo da proistekne celovita priča o likovima, međutim u tome nikako ne uspeva. Mada film bi i sa takvom neuspelom strukturom imao nekakav dignitet da ga potom nije dodatno opteretila raznimtestimonijalima junaka kojim dodatno opterećuje tu strukturu i postiže obrnut efekat - ne samo da testimonijali nisu pomogli da bolje razumemo ono što očigledno nismo mogli da razumemo iz ispraznih situacija sa junacima, nego su to čak i zakomplikovali.

Od jedne jasne i potentne priče, Coppola je na kraju napravila potpunu zbrku sa konfuznim motivacijama junaka.

Jedina stvar koja u ovom filmu valja je izuzetan soundtrack, što je tradicionalno Sofijina jača strana. Međutim, njoj je ranije i pravljenje filmova bilo jaka strana ali sada očigledno nije takav slučaj. Nadam se da solidna recepcija ovog filma neće ubediti Coppolu da ovako treba da radi i ubuduće.

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Pogledao sam 2 GUNS Baltasara Kormakura, film u kome se Wahlberg vraća reditelju jednog od svojih slabijih filmova a Denzel pokušava da ponovi uspeh koji je imao sa Espinosom, još jednim rediteljem sa severa Evrope. Ni jedan ni drugi nisu ponovili prethodno iskustvo, 2 GUNS je neuporedivo bolji od CONTRABANDa ali nije toliko vešto realizovan kao SAFE HOUSE niti je uspeo da osveži box office uprkos sličnim atributima. U oba filma Denzel je uparen za mladim belcem sa izrazitim komičarskim darom i mačo harizmom. Oba zapleta se bave sukobom dvojice heroja protiv establišmenta koji pre svega oličavaju tajne službe. Oba filma je slikao iskusni Oliver Wood koji poslednjih dvadeset godina nastupa kao možda i najbolji direktor fotografije u akcionom žanru, premostivši put od Harlina do Greengrassa.

Međutim, dok je Espinosin film svoju snagu crpio iz spoja izuzetne rediteljske realizacije i glumačke harizme, 2 GUNS je relativno mlako režiran, ali sa izuzetno harizmatičnim rolama i prilično old school tonom. Ako je SAFE HOUSE mogao da se nadoveže na Tony Scotta i donekle Greengrassa, Kormakur se ovde bavi gotovo izumrlom vrstom buddy krimića kojom se na taj način prvi i poslednji bavio Walter Hill.

U tom hillovskom pogledu, 2 GUNS je prilično dobar, iako je sam Hill snimao nešto energičnije i mišićavije. Međutim, to je u suštini to - 2 GUNS je mešavina karaktera iz 48 HRS ili RED HEAT i miljea i zapleta iz EXTREME PREJUDICE. To su zadovoljstva koja smo jako davno sretali - Hill je prvi radio tu vrstu filmova a bogami i poslednji.

Očigledno je da su Denzel i Marky Mark bili raspoloženi za igru i banter u ovom filmu je vrlo efektan i vrlo old school. Naravno, prednost Hillovih filmova je u tome što su oni imali ironiju koja se javlja iz postupaka junaka a ne postupaka autora, ali obrni okreni, to je to, i lepo je ponovo videti da neko ceni  ovu vrstu filma koja je tokom druge polovine osamdesetih bila osnovno pogonsko gorivo na blagajnama. Nažalost, danas, ovakva glumačka podela i žanr dovoljni su za dobro otvaranje ali osrednji skor filma na blagajnama pokazuje da je ovaj žanr ipak na marginama interesovanja publike. To je zanimljivo jer čista akcija i dalje dosta dobro prolazi a ovo bi trebalo da bude evolutivni stepen više od nje. Međutim, očigledno da je dugi diskontinuitet u ovom žanru učinio svoje pa su i filmovi potput GET THE GRINGO (koji je doduše više edgy od 2 GUNS) ostali bioskopski materijal za ostatak sveta ali ne za Ameriku.

Hillov tabor uostalom i najdirektnije reprezentuje Bill Paxton u ulozi ljigavog agenta CIAe.

Srpska publika tradicionalno ceni dobru bioskopsku akciju i po premijernom danu, rekao bih da je 2 GUNS privukao pažnju, sala u Koloseju je bila polu puna. Međutim, pitanje je koliko odsustvo "kulturnog kapitala" u formi informacije da je film blokbaster u Americi remeti njegovu eksploataciju ovde.

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Sasha Grey i Nacho

Primeras imágenes en exclusiva de "Open Windows" para Panda Security

Ali ne Načo Vidal    Ali dobro, i Elajdža Vud je dobar kad nema Nača    Mislim, ima "vud" u imenu.

Pogledao sam JOBS, relativno brzo složen biopic o Steve Jobsu koji je režirao Joshua Michael Stern. Simpatični aspekti filma HOBS su pre svega vanfilmski, pre svih taj da je filmska biografija jednog od najznačajnijih reprezenata "nove korporativne kulture" i "frictionless" kapitalizma snimila grupa nezavisnih producenata i finansijera koji su želeli da zarade novac, dakle nije sačekana ispeglana "zvanična" korporativna biografska priča koju priprema Aaron Sorkin. To mi se moram priznati dopalo jer je potpuno izvan krajnje diktatorskog i skoro pa monopolističkog modus operandija koji Apple nameće svojim korisnicima. Zanimljivo je da Jobs na kraju zapravo samo svoju životnu priču nije uspeo da zaštiti od third partyja.

Ashton Kutcher je solidno odigrao Jobsa, predočio je fazu i kad je ovaj bio cool i kada je polako počeo da postaje sve čudniji, uklanja prijatelje sa kojima je radio itd.

Nažalost, film ne uspeva da odgovori na neka od ključnih pitanja. Prikazuje Jobsovu izgubljenost na fakultetu ali i radoznalost, i to radi na krajnje pojednostavljen, kič način. Potom postaje konvencionalan ali zanimljiv kada Jobsova borba počne da podrazumeva neke neočekivane i hrabre i poslovne odluke. Zatim slede Lisa i Macintosh, dakle Pad. I potom, sledi ponovni uspon i bolest o kojima film ne govori apsolutno ništa. Naravno, Jobsova životna priča je značajna zbog njegovih početaka, ali njegov kambek sa novim proizvodima je faza u kojoj on postaje istinski značajan i ostavlja još dublji trah u kulturi, a svakako i otvara brojne kontroverze.

JOBS na kraju pokušava da načne neke od osetiljivijih, da ne kažem odvratnih aspekata Jobsove ličnosti, ali ih ne razjašnjava i ne crpi do kraja. Isto tako savremeni deo njegovog rada, kao i bolest, bivaju preskočeni iako su upravo to vrlo značajni dramski motivi.

Sternova realizacja je krajnje konvencionalna, JOBS ne deluje kao neki naročito zahtevan film i mislim da će bolje raditi na malom ekranu nego u bioskopima. Ipak, moram priznati da koliko god primedbi možemo da nađemo na Sternovu egzekuciju i "polemički" duh scenarija sa izvikivanjem raznih teza, ovo je i dalje daleko bolji film od mistifikovanog Fincherovog SOCIAL NETWORKa.

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Гласали смо за Томислава Николића и Александра Вучића, нека их Бог поживи. И није пуцао Елдар у муслимане, већ у Асадову секту, алавите, која тлачи народ – извикује кројач Есад.

http://www.politika.rs/rubrike/Drustvo/Put-u-pakao-Sirije.sr.html

Pogledao sam FRANKENSTEIN'S ARMY Richarda Raaphorsta. Reč je o found footage gorefestu koji je verovatno vrlo zanimljiv onima koji cene tu vrstu izraza. Meni ta poetika nije toliko bliska, iako sam se u međuvremenu senzibilizirao na found footage i ima nekoliko dobrih filmova u tom stilu, ova vrsta promocije ekipa za efekte i šmiku u formi filma mi je ipak prilično daleko. Raaphorst bez ikakve sumnje uspeva da stvori dobru i agresivnu, košmarnu atmosferu u priči o grupi ruskih vojnika koji nabasaju na laboratoriju ludog Frankenteinovog potomka koji pravi monstrume za račun nacista, i sami monstrumi su odlčino i maštovito napravljeni. Međutim, sve ostalo je krajnje slabo. No, čini mi se da u domenu čistog gore filma, FRANKENSTEIN'S ARMY već po ozbiljnosrti tehničke izvedbe spada u red vrhunskih ostvarenja pa ne sumnjam da će doći do kultnog statusa vrlo brzo.

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Stari priprema javnost za sledeću fazu Eurobasketa.

http://novinenovosadske.rs/dimitrije-vojnov-igranje-za-publiku/

Lepo zapažanje, ovo što sad gledamo je tipična globalistička podmetačina    I lepo je videti da smo mi iznad toga.

Ovo što sad gledamo je jedno veliko ništa. To je najtragičnije. Gledamo neke trećerazredne Amerikance koji čekaju angažman hukćući u dlanove pored zapaljenih buradi sa smećem. A da ne govorim o poražavajućem utisku da su i takvi Amerikanci superheroji za većinu Evropljana protiv kojih igraju...

Pogledao sam THIS IS THE END Setha Rogena i Evana Godlberga, iznenađujuće rani primer totalne dekadencije grupe komičara koji nisu sastavili ni deset godina u holivudskom mejnstrimu a već su počeli sa autoreferentnim radovima. Ubeđeni da dovoljan broj ljudi zna dovoljno o njima lično, Rogen i Goldberg su snimili film u kome apokalipsa zatiče Setha Rogena, Jaya Baruschela, Jonah Hilla i Craiga Fergusona u kući James Franca i kreće njihovo snalaženje kako da prežive, pritisnuti apokalipsom i ličnim sukobima.

Skoro sto miliona dolara zarade na američkim blagajnama bez ikakve sumnje pokazuje da su bili u pravu kada su procenili da postoji dovoljno ljudi koji žele da prisustvuju njihovim internim šalama, ali to ne znači da THIS IS THE END zapravo ne deluje kao skuplji i produženi skeč iz FUNNY OR DIE.

To dosta slobodno preskakanje iz forme u formu, iz nečega što je YouTube materijal na veliki ekran pokazuje da je publika nepredvidiva, a skor koji je ovaj film ostvario daleko nadmašuje recentne filmove svakog od ovih glumaca i autora ponaosob, iako su se u tim ostvarenjima ponašali mnogo racionalnije prema resursima i gledalačkom vremenu.

Ako se TEDu ili WE'RE THE MILLERS moglo zameriti da im je deo humora bio efemeran, ta oba filma su OKLOPNJAČA POTEMKIN za THIS IS THE END, film u kome se veći deo humora bazira na ličnim i pop kulturnim referencama, često na dela koja su bitnija autorima filma (tipa PINEAPPLE EXPRESS) nego publici.

Da film tako uporno ne pokušava da ima "priču", doživeo bih ga kao filmovanu tezgu u ravni "Indexovog radio pozorišta", međutim, pošto postoji priča onda je ovde reč o nečem drugom. Isto tako, ne mogu da osporim da nekome ko je sklon ovoj vrsti zabave, THIS IS THE END može biti srazmerno zabavniji i značajniji nego meni.

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Zoran Ćirjaković tumači provokativan tekst iz New Yorkera o Novaku Đokoviću.

http://t.co/3t1j7LjJZx

Quotegrupe komičara koji nisu sastavili ni deset godina u holivudskom mejnstrimu a već su počeli sa autoreferentnim radovima.

При чему су у питању потпуни медиокритети чији филмови се по квалитету крећу од једва подношљивих до потпуно кретенских. Осим Џејмса Франка, он је океј.

Franca ceniš ili zbog prezimena ili zato što je gej. Sad razmišljam koje je od ta dva presudilo...

U sklopu priprema za RUSH Rona Howarda, pogledao sam GRAND PRIX Johna Frankenheimera, Jedan maliciozni kritičar Guardiana tvrdi da je GRAND PRIX i dalje najbolji film o Formuli 1 ali uveren sam da RUSH ipak nije toliko podbacio. GRAND PRIX u sebi ima neke vrlo ozbiljne kvalitete, to ne sporim, mogao bih čak da kažem da je to u izvesnom smislu vrlo značajan i inovativan film, ali na nivou celine ima jako ozbiljne probleme. Naime, Frankenheimer je kao veliki fan Formule proveo celu godinu prateći trke širom sveta, snimajući u pauzama treninga i pomalo tokom trka. Međutim, ono što je potpuno ispustio je prenaduvana, bajata i prilično konfuzna melodrama koja opterećuje prvih sat i po ovog tročasovnog filma koji je prikazivan sa sve međučinom, po uzoru na stare spektakle kao što su bili BEN HUR i CLEOPATRA.

All Star glumačka ekipa ne zna tačno šta radi, James Garner koji je, kao i Paul Newman, bio entuzijasta za auto trke formalno igra glavnu ulogu, ali se njegova priča gubi u dugim deonicama kada ekran zauzimaju Yves Montand ili Brian Befrord.

Ono što je adut jeste Frankeheimerov stil u scenama trke. Tu se koristi svim mogućim trikovima, pokazujući čestu naviku reditelja svoje generacije da čim se dočepa Evrope dobije arty virus. Slično se desilo i Sydneyu Pollacku u filmu BOBBY DEERFIELD. Međtuim, Frankenheimerove trkačke scene funkcionišu uz obilje avangardnih rešenja kao što su split-screenovi, neoštrine, kadrovi snimljeni kamerama postavljenim na trkačka kola. Naravno da danas ništa od toga nije novo ali je GRAND PRIX u svoje vreme bio film koji je po prvi put prikazao svu visceralnu snagu trka Formule 1.

Ti inovativni elementi su na kraju i nagrađeni oskarima.

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Pogledao sam CQ Romana Coppole, njegovu debitantsku režiju u kojoj se vrlo simpatično i vešto poigrava filmskim stilovima šezdesetih. U maniru francuskog Novog talasa priča o američkom montažeru u Parizu koji radi na SF filmu (dosta sličnom BARBARELLI Roger Vadima) koji dobija priliku da preuzme režiju na toj problematičnoj produkciji, usput snimajući lični autorski film, rastrzan između svoje devojke stjuardese i glumice koja igra glavnu ulogu.

Coppola sa skromnim budžetom postiže jako puno vešto kombinujući ekspresiju priče o junaku, prizora iz njegovog autorskog filma i SF "filma-u-filmu". U nekoliko navrata Coppola dolazi do ivice da sklizne u proizvoljnost, ali zapravo ako imamo u vidu njegovu estetiku (dosta zastupljenu u radovima Wesa Andersona) ovo je izuzetno disciplinovan i racionalno postavljen film.

Sasvim sigurno da zrelosti Coppoling pristupa filmu šezdesetih doprinosi i porodični pedigre i film je pun znalačkih omaža figurama kao što su Dino De Laurentiis, Roger Vadim i Roman Polanski. Vrlo povoljnom opštem utisku donosi i visoka estetizacija. Među old school saradnicima na filmu je Dean Tavoularis.

Jeremy Davies u glavnoj ulozi daje filmu art house notu, ali u seriji njegovih pretencioznih rola, ova je najmanje problematična, naročito ako imamo u vidu njegove radove iz tog perioda. Ellodie Bouchez i Andrea Lindvall su svaka na svoj način sjajne i žanrovski precizne u ulogama žena koje pritiskaju Daviesov lik. Giancarlo Giannini se dobro zabavlja parafrazirajući Dina De Laurentiisa.

Iz ove vizure, Roman deluje kao Coppolin potomak na kog bi se pre trebalo kladiti nego na Sofiu. Međutim, isto tako hermetičnost njegovih tema čini CQ neuporedivo manje prijemčivim od filmova kao što su VIRGIN SUICIDES ili LOST IN TRANSLATION pa ne čudi da je Roman ostao ekscentrik koji se tek povremeno oglasi autorskim radovima.

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Quote from: crippled_avenger on 16-09-2013, 18:42:31
Franca ceniš ili zbog prezimena ili zato što je gej. Sad razmišljam koje je od ta dva presudilo...

Због презимена и зато што је био у Рајз ов д Планет ов ди Ејпс и 127 сати!