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Stari se obratio građanima na stranicama Novosti, intervjuom koji odlikuje umerenost

http://www.novosti.rs/vesti/kultura.71.html:468541-Dimitrije-Vojnov-Zivot-u-Srbiji-nije-za-svakoga

Pročitaćemo.

U međuvremenu da se notira da Sjeverna Koreja tretira Orvelovu 1984. kao priručnik:
North Korea embarks on Internet purge of executed official

Quote

State-run websites have removed references to Jang Song Thaek, who was executed Thursday

The North Korean state propaganda machine has edited and deleted hundreds of news articles that mention Jang Song Thaek, the former top government and party official who was executed Thursday.
The action, which appears to have taken place at all state-run websites, amounts to an attempt by the regime to delete Jang from the country's official history.

Jang was one of the most powerful men in North Korea and uncle to leader Kim Jong Un. But earlier this week, he was arrested in front of hundreds of senior members of the ruling Worker's Party of Korea and denounced for numerous alleged acts against the state and Kim Jong Un. From arrest to trial to death took only four days and the unprecedented fall from grace is widely being interpreted as an attempt by Kim Jong Un to keep officials loyal and scared.

For several hours after the execution of Jang was announced, previously published articles about him were available on the website of the Korean Central News Agency (KCNA), the state-run news mouthpiece of the North Korean regime.

But then the website become inaccessible. For at least an hour, attempts to connect to it and other North Korean sites returned errors.

It's unclear if the outage -- and another that occurred right before the execution of Jang was announced -- were related to his arrest and execution, and the subsequent removal of references to him from websites. North Korea's entire publicly accessible Internet only consists of a handful of websites connected to the rest of the world via a single link through China.

That connection has been down 11 times in 2013, according to data from Internet monitoring company Renesys. That included a 46 minute outage Thursday and a 16 minute outage Friday, said Doug Madory, an analyst at the company.

When the site came back, articles that centered on Jang were gone and several hundred other articles that mentioned him in passing had been edited to remove references to him, said Frank Feinstein, a New Zealand-based researcher who runs the KCNA Watch service.

For example, an Oct. 5 story mentioned Jang as part of a delegation that accompanied Kim Jong Un on an inspection of the construction of a new hospital.

The final paragraph of the story read, "He personally named it "Okryu Children's Hospital" as it is situated in the area of Munsu where the clean water of the River Taedong flows. He was accompanied by Jang Song Thaek, member of the Political Bureau of the C.C., the WPK and vice-chairman of the NDC, and Pak Chun Hong, Ma Won Chun and Ho Hwan Chol, vice department directors of the C.C., the WPK."

The revised version of the article on the KCNA website excludes the final sentence that mentioned Jang and the other officials.

The changes mirror those over the weekend when state TV repeated a documentary about Kim Jong Un that had featured images and video of Jang alongside the leader. The scenes showing Jang had been edited to either cut him out of the frame or, in some cases, he had been digitally deleted from pictures.

The same thing hasn't happened so far at a website carrying KCNA news operated by a North Korean association in Japan. The site was the primary Internet source for KCNA articles for years before the agency opened its own website and is not under the direct control of government propagandists. It remains to be seen if articles on that site will be edited and deleted.

Even if that happens, people like Feinstein maintain a back-up of all KCNA news articles and images so the stories won't be lost.

As the rest of the world knows, the Internet never forgets.

But for North Koreans, there is no Internet access. The country is tightly controlled and all media outlets are run by the state, private media is not permitted, phones cannot make or receive overseas calls and reception of foreign radio broadcasts is banned, although it happens in secret.

Quote from: crippled_avenger on 15-12-2013, 01:15:00
Stari se obratio građanima na stranicama Novosti, intervjuom koji odlikuje umerenost

http://www.novosti.rs/vesti/kultura.71.html:468541-Dimitrije-Vojnov-Zivot-u-Srbiji-nije-za-svakoga

Odličan izbor majice. Da se vidi šta na srcu leži.

Kroz moje srce protiče Južni tok...

Quoteopšta gledanost televizije opada, čak i ispod pedeset procenata. Dakle, građani žele nešto drugo ali nema ko da im ponudi.

ovo je otprilike srž onog mog smaranja o RTS-u, ali u međuvremenu sam popravio mišljenje o filmskom programu, bilo je par dobrih večeri posljednjih nedjelja


nego, imaš li odgovor na to pitanje šta u stvari građani traže


mislim da to nije mnogo, i da bi vraćanje prenosa neke evropske fudbalske lige, i eventualno malo boljih serija umnogome riješilo problem gledanosti

Opalo je gledanje televizije uopšte. Dakle, sve televizije se manje gledaju.

da, spomenuo sam RTS pošto sam već o njemu pričao, ali mislio sam generalno na TV što se gledanosti tiče

Kanal koji prenosi englesku ligu, dobar sitkom i neku ozbiljniju seriju mene bi kupio na duže vrijeme, a taj kanal sada ne postoji

to je čak bio B92 u nekom prošlom životu

Pogledao sam FRUITVALE STATION Ryana Cooglera, istinitu priču o Oscaru Grantu, momku kog je obezbeđenje železničke stanice ubilo tokom rutinske intervencije koja se pretvorila u rasistički ispad. Coogler na raspolaganju ima Michaela B. Jordana koji se potvrdio sjajnim ulogama u antologijskim serijama THE WIRE i FRIDAY NIGHT LIGHTS a poslednjih nekoliko godina redovno overava i veliki ekran, recimo u Trankovom pogotku CHRONICLE. Jordan donosi veliku harizmu u ulozi Oscara Granta, međutim ipak ne uspeva da prevaziđe Cooglerovu rediteljsku nesigurnost.

Coogler pretenduje na rekonstrukciju poslednjeg dana u Grantovom životu i nama samo ostaje da pretpostavljamo da je ove događaje on zaista skrupulozno prikazao i protumačio. Međutim, u svom neujednačenom rediteljskom postupku koji luta između mejnstrim ispoliranosti i indie neposrednosti, Coogler pre svega uspeva da konstruiše neubedljivu celinu. S jedne strane, događaji u Grantovom životu tog poslednjeg dana graniče se sa krajnje neuverljivim, ali čini mi se da bi ta neuverljivost bila prevaziđena kroz tvrđi indie postupak. Ipak, Coogler ga vrlo često "umekšava" i FRUITVALE STATION u pojedinim fazama deluje kao prilično mejnstrimizovana priča o ljudskim pravima koja teško može da prođe u aktuelnim tokovima. No, očigledno su osetljiva tema i Jordanova odlična uloga uspele da prikriju ovaj nedostatak pred znatnim delom javnosti.

Ipak, čini mi se da FRUITVALE STATION neće ostati preterano bitan film na duže staze čak ni u okvirima radova posvećenih odbrani ljudskih prava.

* * / * * * *

Pogledao sam THE IMMIGRANT Jamesa Graya, vrlo zanimljiv slučaj potpune degeneracije forme unutar pogrešnog produkcionog konteksta. Naime, James Gray je poznat kao jedan od najistaknutijih klasicista savremenog američkog filma koji je postepeno od oboda glavnog toka klizao prema indie vodama. Konačno, kada se našao potpuno u indie miljeu snimio je THE IMMIGRANT, film sa pričom koja više dolikuje nekoj seriji Ljubiše Samardžića nego ozbiljnog filma i rediteljskim postupkom koji pokušava da bude sofisticiran iako je jednostavan do tačke banalnosti.

THE IMMIGRANT je film sa poznatim, i velikim, glumcima kao što su Marion Cotillard i Jeremy Renner tako da ga je moguće podneti, ali nije toliko zanimljiv za analizu sam po sebi. Ipak, kao simptom je vrlo značajan.

Naime, u Holivudu je nastupila kriza ozbiljnog storytellinga. Osim Scorsesea sve je teže naći reditelja koji ume da smisleno ispriča neku priču koja u sebi nema izraziti žanrovski pečat ili nekakav high concept. Naravno, još uvek ima takvih filmova ali većinu odlikuje neka specifičnost u rediteljskom konceptu, ili inspiracija u istinitoj priči i sl. Dakle, kriza je i idejna i realizatorska.

Gray je zapravo pokazao simptome te krize. Prvo je ozbiljan storytelling gurnut u indie vode, a onda je tamo potpuno izgubio pripovedačku disciplinu koja odlikuje ozbiljno producirane filmove. I tako nastaju promašaji kao THE IMMIGRANT. Uprkos tome što je reč o konvencionalnoj priči, ona je isterana van prirodnog ambijenta i samim tim je mutirala u nešto pogrešno što ni Gray kao reditelj niti sama priča mogu da iznesu.

* 1/2 / * * * *

Pogledao sam ДОБРО ПОЖАЛОВАТ Elema Klimova, tatijevsku komediju smeštenu u milje dečjeg kampa. Klimov je ovaj film očigledno postavio kao kritiku sovjetskog sistema, njegove neefikasnosti a sve je smestio u benevolentnu dečju avanturu sa priglumpim vaspitačima i snalažljivim pitomcima. Nažalost, ovo je vrsta humora i rediteljskog pristupa koji je zaista stvar ukusa, ali i stvar svog vremena. Rekao bih da možda, u skladu sa afinitetom za tatijevsku komediju, ovaj film može dobiti nešto više poštovanja od drugih nego od mene, ali rekao bih da je reč o estetski minornom delu koje je više zanimljivo kao fusnota u istoriji sovjetskog filma.

* 1/2 / * * * *

Pogledao sam PIONEER Erika Skjoldbjaerga, nevoljnog norveškog povratnika iz Holivuda koji se izgleda još uvek nije u potpunosti oporavio i vratio u onu formu koju je imao kada ga je originalna INSOMNIA lansirala u internacionalne okvire. Nolan je posle rimejka njegovog filma samo ređao uspehe, a Skjoldbjaerg je u Americi snimio samo dugo odlagani PROZAC NATION i na kraju se vratio u Norvešku gde je kombinovao rad na televiziji i relativno bezlične ali visokobudžetne filmove. U međuvremenu su doduše neki drugi Norvežani zauzeli njegovo mesto i čini se da će Morten Tyldum ili Andre Oevredal pre postići njegov uspeh.

PIONEER nije priča o njegovom pionirskom odlasku u Holivudu već o norveškim roniocima koji su radili na zavarivanju podvodnog gasovoda u Severnom moru u vreme otkrivanja bogatih nalazišta nafte i gasa koja su promenila život Norvežana. Skjodbjaerg je snimio conspiracy triler o tome kako su ronioci bili izloženi opasnim materijama u gasovima koji su im davani za disanje na velikim dubinama.

Zavera o kojoj film govori nažalost nema pravi odjek jer govori o sumnjivim postupcima unutar jednog visokorizičnog posla usled kojih se junacima nije desilo ništa znatno dramatičnje od onoga što bi ih moglo zadesiti i u normalnim okolnostima. Iako se oslanja na istinitu priču, za razliku od dosta zanimljivo koncipiranog NOKASa, ovde Skjolbjaerg podleže već prevaziđenim konvencijama ove vrste filma i na kraju, uprkos ozbiljnoj produkciji, i solidnoj egzekuciji završava sa falsifikatom američkog pristupa bez naročite autentičnosti.

* * 1/2 / * * * *

Pogledao sam CZETRY NOCE Z ANNA Jerzy Skolimowskog. Ovaj film je prethodio izvanrednom ESSENTIAL KILLINGu, i rekao bih da sada u osmoj deceniji života Skolimowski ostaje primer kako evropski veterani treba da snimaju filmove. Ako imamo u vidu da i mi egzistiramo u jednoj kinematografiji koja izuzetno poštuje debitante ali da su isto tako najveći uspesi postizani decenijama ranije što je formiralo svojevrsnu gerontokratiju, Skolimowski snima daleko zanimiljivije filmove od većine svojih vršnjaka u Evropi a naročito na Istoku. Štaviše, pošto je Skolimowski u određenom smislu bio saigrač a potom i pandan Polanskom i ovaj ga je u svakom smislu nadmašio kada su bili na vrhuncu, sada bih rekao da Skolimowski radi zanimljivije filmove, sa lakoćom i tematskim fokusom kakav nije imao ni kada je bio na vrhuncu, barem u pogledu životnog doba.

Kao što je ESSENTIAL KILLING imponovao svojom jednostavnošću i energijom i nametnuo se kao jedan od najznačajnijih filmova na temu Rata protiv terorizma, ali i vrlo zanimljiva priča o opstanku, tako je CZETRY NOCE kriptičan, apsurdni pogled na neke od već poznatih tema evropskog filma, bizarna intimistička priče smeštena u poljsku provinciju, o marginalcu nevino optuženom za silovanje koji međutim nije sasvim lišen perverznih navika.

Skolimowski gradi lik glavnog junaka kao simpatičnog gubitnika i margialca, nikada ne gubeći iz vida njegovu asocijalnu dimenziju i bez oslanjanja na jednostavne efekte kojim bi ga učinio potpuno prihvatljivim ili proizveo identifikaciju. Ipak, uprkos tome što u filmu nema likova sa kojima se gledalac može identifikovati, CZETRY NOCE nije film lišen topline.

U vizuelnom pogledu Skolimowski se dosta koristi kadar-sekvencama i kao i uvek nudi izuzetno energičan prilaz tom rešenju. Iako formalno ovo nije dinamičan film, Skolimowski stvara prizore koji su puni energije i u tom pogledu je reč o masterclassu za ovu vrstu filmmakinga.

Ova potentna faza svoj vrunac postiže film kasnije u ESSENTIAL KILLINGu ali CZETRY NOCE ostaje naslov koji itekako zaslužuje pažnju.

* * * / * * * *

Quote from: crippled_avenger on 17-12-2013, 17:49:04

Ova potentna faza svoj vrunac postiže film kasnije u ESSENTIAL KILLINGu ali CZETRY NOCE ostaje naslov koji itekako zaslužuje pažnju.

Nisam pogledala ESSENTIAL KILLING, a sto se tice filma CZETRY NOCE Z ANNA, pa to je pravo malo remek-delo. Strasan film. Recimo... ne bi trebalo da ga propuste fanovi Kjeslovskog.

The Wolf of Wall Street: Film Review

8:00 AM PST 12/17/2013 by Todd McCarthy

The Bottom Line

The wages of greed and excess portrayed in grand, operatic, often very funny style.

Opens

Dec. 25 (Paramount)

Cast

Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Kyle Chandler, Rob Reiner, Jon Bernthal, Jon Favreau, Jean Dujardin

Director

Martin Scorsese

At nearly three hours of pushing the R rating, Martin Scorsese's film leaves no storytelling trick unused while watching Jordan Belfort embrace Wall Street's cutthroat ethos.

At the very least, Leonardo DiCaprio can claim to have cornered the market on 20th century Long Island gazillionaires. Having begun his year portraying Jazz Age mystery man Jay Gatsby, he closes it by serving up a wild portrait of a poster child for '90s financial excess in The Wolf of Wall Street. Nearly as extravagant as the characters it depicts, Martin Scorsese's comic, operatically-scaled film is, on a moment-by-moment basis, often madly entertaining due to its live-wire energy, exuberant performances and the irresistible appeal of watching naughty boys doing very naughty things.
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At the same time, the dramatic strategy of titilating an audience with salacious behavior for 90 percent of the time, only to deliver a wages-of-sin message at the end, is older than Cecil B. DeMille, while the hopped-up visuals, editing and music feel like the stylistic equivalent of doubling up coke and Viagra. Without a doubt, Paramount's sybaritic, three-hour Christmas Day release will divide audiences, but the now five-film DiCaprio-Scorsese collaboration should continue to yield pretty strong returns commercially.

Although never the household name he'll now become with a big movie made about him, Jordan Belfort was nonetheless emblematic of the unrestrained financial shenanigans of the final years of the American century, when the idea of any consequences for lid-off monetary opportunism seemed unthinkable (it's quite likely that Wolf could be a giant hit in China, Russia and other markets where the spectacle of American irresponsibility will be most appreciated). A working-class New York kid, Belfort enthusiastically embraced the cutthroat Wall Street ethos in his early 20s and eventually formed a respectable-sounding company, Stratton Oakmont, featuring a boiler room ethos among employees that was thoroughly drilled in their leader's take-no-prisoners sales approach.

Indicted in 1998 for securities fraud and money laundering, Belfort got off easy by ratting out many associates to the FBI and served but a brief sentence in a country club-like prison facility where his bunkmate was Tommy Chong. He's now a popular motivational speaker, his fee no doubt about to soar.

The format of Terence Winter's ever-percolating script closely resembles those of two major Scorsese films about underworld figures, Goodfellas and, especially, Casino. Wolf is wallpapered with first-person narration, takes pains to explain how the business and scams work and positively wallows in the pleasure of elaborating the minutiae of self-gratification through criminal and otherwise depraved activity, the immorality and illegality of which have been totally waived away by the characters. This approach works on the viewer by providing what feels like privileged access to individuals you'd abhor in real life but who, as inhabited onscreen by charismatic actors, are undeniably fascinating for how they get away with so much for so long. It's the gangster formula, here applied to white collar types.

VIDEO: Martin Scorsese, Leonardo DiCaprio Finally Open Up About 'Wolf of Wall Street'

Scorsese's point of view toward these characters, and his reasons for returning to them time and again, could profitably be analyzed further. It's safe to say, however, that, at 71, the director is still making the films of a much younger man and is showing no signs of turning toward a more reflective, meditative style.

Effectively setting both the iniquitous attitude and the adrenalized acting style that will predominate is Matthew McConaughey, who, in his one big scene as a successful drug-drink-and-sex-addled broker, tutors the 22-year-old greenhorn Jordan (DiCaprio) at a very funny lunch on what it takes to become a whiz in the money business.

Jordan has just gotten a taste of Wall Street life when Black Monday hits in October, 1987, sending him back to square one. Married and desperate for any income, he sets up a few desks in a Long Island garage, slaps the "classy" name of Stratton Oakmont on it and instructs a few young guys, most notably eager acolyte Donnie Azoff (Jonah Hill), in the high-pressure art of selling penny stocks to suckers over the phone. It's the start of something very, very big.

From the outset, the parties and celebrations are totally debauched; throughout, Scorsese pushes to the outer limits of the R rating (the film did require cutting to avoid an NC-17) in showing drug excess perhaps outdone only by Scarface and rampant sex, including in the workplace. Even when the firm grows to a thousand employees, the office filled with white-shirt-and-black-tied men more often resembles a mosh pit more than a place of business. Jordan's ferocious inspirational speeches to his troops are among the film's highlights, and the boss gets his greatest satisfaction from seeing the men (there are a few women) go ape with abandon at the prospect of their unethical practices reaping ever-escalating profits. Greed is all-pervasive and is held as life's greatest virtue.

With success for Jordan comes a trade-up trophy wife; Naomi Lapaglia (promising Australian newcomer Margot Robbie) is as gorgeous as can be, although her lower-class roots show whenever she opens her mouth. The charter flight to Vegas for a $2 million wedding party sets a new high bar for R-rated debauchery (this was reportedly one of the scenes most heavily trimmed for the ratings board) and the sky's the limit on other expenditures as well: mansions, the fanciest cars, a helicopter and a yacht to which Jordan invites FBI agent Denham (an excellent, low-key Kyle Chandler) when authorities decide to put him in their sights.

One particularly tasty side story involves Jordan's use of Naomi's stylish British aunt Emma (Joanna Lumley) to systematically stash large sums of cash in Swiss banks. A proud survivor of the Swinging Sixties, Emma is a wonderful character in this context, one whose eyebrows are scarcely raised by the younger generation's antics because she's seen it all—and no doubt participated in it—before. An innuendo-laden scene between her and Jordan in a park is a classic of alternating voice-over inner dialogue.

Scorsese leaves no storytelling device or trick unused except for understatement. The real-life story being told may be dramatic, but much of it is played for comedy, sometimes to the edge of farce, notably in a hilarious scene in which Jordan, under the effect of vintage Quaaludes to "the cerebral palsy stage," agonizingly drags himself out of a country club, tumbles down a flight of stairs and attempts to drive home. It's hallucinatory slapstick under the influence of Jerry Lewis and Jacques Tati, and one of the director's most inspired film buff interpolations here is to intercut Jordan's drug ingestion with a clip of Popeye downing a can of spinach.

Even after he's indicted in 1998 and is forced to give farewell speech to his disbelieving staff, Jordan has at least one more surprise up his sleeve, which extends the film right up to the three-hour mark. There are a few scenes and minor character subplots that could have been lost, particularly a protracted dispute between Donnie and a tough-guy underling that looks like it was meant to be funnier than it is and diverts attention from the central character for too long. But Scorsese clearly intended this to be a comedy-lined epic maxed out to grand opera proportions, so a little excess more or less wasn't going to make much difference. Jordan would scarcely disagree.

This is undoubtedly DiCaprio's largest and best screen performance, one in which he lets loose as he never has before, is not protective of vanity or a sense of cool and, one feels, gets completely to the bottom of his character. Caution was not an option with this characterization; the word does not exist for the actor or the character.

Unlike most of his screen work to date, Hill is not (just) comic relief here but a credible, if weird, figure, an eager young man perennially keen to prove to his boss that he's willing not only to embrace but exceed his high standards of waywardness. The actor's timing is terrific and he keeps offering surprises and nuances to the end. Even though it's hard to believe he could have fathered DiCaprio, Rob Reiner is a hoot as Jordan's old-line accountant dad. Even in this context, Jean Dujardin is a bit over-the-top as the smarmy Swiss banker.

Production values are, expectedly, top of the line across the board. However, coming from a filmmaker as meticulous as Scorsese, it's surprising to see so many small but noticeable mismatched cuts in some of the dialogue scenes here.

Jordan Belfort's story inspired the indie film Boiler Room in 2000.

Opens: December 25 (Paramount)
Production: Red Granite, Appian Way, Sikelina, Emjay Productions
Cast: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Kyle Chandler, Rob Reiner, Jon Bernthal, Jon Favreau, Jean Dujardin, Joanna Lumley, Cristin Milioti, Christine Ebersole, Shea Whigham, Katarina Cas, P.J. Byrne, Kenneth Choi, Brian Sacca, Henry Zebrowski, Ethan Suplee
Directed by: Martin Scorsese
Screenwriter: Terence Winter, based on the book by Jordan Belfort
Producers: Martin Scorsese, Leonardo DiCaprio, Riza Aziz, Joey McFarland, Emma Tillinger Koskoff
Executive producers: Georgia Kacandes, Alexandra Milchan, Rick Yorn, Irwin Winkler, Danny Dimbort, Joel Gotler
Director of photography: Rodrigo Prieto
Production designer: Bob Shaw
Costume designer: Sandy Powell
Editor: Thelma Schoonmaker
Music: Howard Shore
Visual effects supervisor: Robert Legato
R rating, 179 minutes

Old-school Scorsese style and an unhinged Leonardo DiCaprio juice a cynical tale of Wall Street bad boys behaving badly.
Chief Film Critic
Scott Foundas
Chief Film Critic @foundasonfilm   

Even Gordon Gekko looks like a veritable lap dog compared to Jordan Belfort, the self-proclaimed "Wolf of Wall Street" whose coked-up, pill-popping, high-rolling shenanigans made him a multi-millionaire at age 26, a convicted felon a decade later, and a bestselling author and motivational speaker a decade after that. Now, Belfort's riches-to-slightly-less-riches tale has been brought to the screen by no less a connoisseur of charismatic sociopaths than Martin Scorsese, and the result is a big, unruly bacchanal of a movie that huffs and puffs and nearly blows its own house down, but holds together by sheer virtue of its furious filmmaking energy and a Leonardo DiCaprio star turn so electric it could wake the dead.

Arriving six weeks past its original November release date and still showing signs of editing-room haste, "Wolf" should ride a high want-to-see factor and generally admiring reviews to solid holiday B.O., though its length and extreme content may keep the reportedly $100 million production from reaching the rarefied aerie of "The Departed" ($289 million worldwide) and "Shutter Island" ($294 million worldwide).

After going unexpectedly kid-friendly for 2011's "Hugo" (his first PG movie in two decades), Scorsese could hardly have followed with a more dramatic about-face than "Wolf," which skirts the very outer limits of the R rating with its nonstop barrage of drug-fueled decadence, all put across with a sinister smile. In the first reel alone, which aptly sets the tone for what's to come, Belfort (DiCaprio) can be seen snorting coke off a prostitute's backside, getting fellated while driving his white Ferrari, and nearly crashing his private helicopter while high on a homemade cocktail of Quaaludes, Xanax and morphine (the last one "because it's awesome"). If some of the advance hype suggested that "Wolf" was going to be a kind of "Goodfellas" on Wall Street, in reality it's more like the jittery, paranoid third act of that movie stretched out to three hours, starting at a fever pitch and heading toward the nuclear.

In the prologue to "Wolf," the first of two volumes of memoirs, Belfort wrote that he hoped his story would serve as "a cautionary tale to the rich and poor alike," though there was little in the 500 pages that followed (or in the cover line, "I partied like a rock star, lived like a king") that suggested contrition. Nor have Scorsese and screenwriter Terence Winter brought any retroactive moralizing to bear on the material. Rather, they take Belfort on his own questionable terms, seeking to reproduce the atmosphere of crazed, alpha-male intensity that engulfed the trading floor at Stratton Oakmont, the Belfort-founded brokerage house which, in "Wolf," comes to resemble a Boschian Rome before the fall. It is the sort of office where a bathroom placard kindly reminds everyone not to engage in intercourse on the premises during office hours — right where the "Employees Must Wash Hands" sign usually goes.

The movie begins in medias res, with Belfort and his devoted minions blowing off steam in an office dwarf-tossing competition, before flashing back to give us a brief glimpse of the young and relatively innocent Jordan, who arrives on Wall Street in the fall of 1987 as a "connector" — basically a glorified phone dialer — for the old-money trading firm of L.F. Rothschild. It's there that the eager rookie gets his first sense of the wild life to come when a mad-hatter senior broker (Matthew McConaughey) takes him out for a three-martini lunch that also includes enough white powder for a killer day at Big Bear. And even though he's no longer quite boyish enough to play someone in his early 20s, DiCaprio is convincingly green here, like a wide-eyed Candide lunching with McConaughey's debauched Dr. Pangloss.

But no sooner has Jordan settled in than Black Monday arrives and the bottom falls out, of the market and L.F. Rothschild, sending him back to the help-wanted ads at a time when nobody seems to be looking for stockbrokers. Nobody, that is, save for a storefront brokerage in a Long Island strip mall, where the slovenly staff unloads worthless penny stocks on cold-called clients for 50% commissions, and where Belfort sticks out like a Savile Row suit on a Kmart clearance rack. But the genial proprietor (an uncredited Spike Jonze) agrees to give him a shot, not quite realizing he's just let a wolf in the door.

It isn't long before Belfort branches out on his own, starting the tony-sounding Stratton Oakmont in a declasse former gas station, resolving to go from "selling garbage to garbagemen" to targeting the deep-pocketed one percent. He assembles a merry band of brokers comprised of petty thugs, drug dealers and high-school dropouts who, when trained in Belfort's precision-scripted tactics, prove to be remarkably effective salesmen. Riding herd on them all is Donnie Azoff (Jonah Hill), a buffoonish caricature of a Jew in WASP Land, decked out in garish bleached teeth, clear-lens horn-rims and a sweater tied ever so carefully around his neck. (Belfort's own Jewishness and WASP aspirations, a running theme in the book, have been omitted from the film.) After offering his services to Belfort out of the blue in a local diner, Donnie becomes the Wolf's most trusted associate, and it's Hill who gives the movie's most flamboyant (if slightly one-note) comic performance, unzipping his schlong, swallowing a live goldfish, and otherwise boldly exploring the gray area between mankind and our nearest relatives on the evolutionary scale.

Clocking in at 179 minutes, "Wolf" sets a record as Scorsese's longest fiction film (one minute longer than "Casino"), but that doesn't make it his most ambitious or deeply felt. It lacks the dynamic emotional range of a "Mean Streets" or "Goodfellas," or the intricate plotting of a "Casino," and for all its amusing guest stars (Rob Reiner as Belfort's combustible dad, Jean Dujardin as a pompous Swiss banker) and caper-like episodes, almost everything unfolds in the same manic register. Even when the movie is really cooking (which is often), there's a feeling that scenes are being held for a few beats too many, that Scorsese and his ace editor Thelma Schoonmaker simply didn't have enough time to do the elegant fine-tuning they're accustomed to (an impression reinforced by several conspicuous continuity gaffes and badly matched cuts throughout the film).

Still, considering how familiar this milieu of fast-talking, hard-selling hucksters is from the likes of "Wall Street," "American Psycho," "Boiler Room" (which was also inspired by the Belfort case) and "Glengarry Glen Ross," it's surprising how lively Scorsese manages to keep things throughout. In terms of style, the movie is almost self-consciously Scorsesean — even more than "The Departed" — with d.p. Rodrigo Prieto's camera tracking elaborately, freeze-framing, dollying in fast and whip-panning even faster, while a quadruple album's worth of classic rock and blues fill up the soundtrack (veteran Scorsese collaborator Robbie Robertson more than earns his "executive music producer" credit) alongside DiCaprio's running first-person narration. This is very much iconic, old-school Scorsese in full bloom, but what's missing is the marvelous empathy the filmmaker managed to conjure for even those films' most reprehensible characters — the sense that this former seminarian could see the good and ill in the souls of troubled men, even finding some kind of tormented nobility in the psychopath Travis Bickle.

In "Wolf," that empathy has been replaced by an overarching cynicism — cynicism for the swindlers who do the swindling and the schmucks who get snookered, cynicism for the empty allure of the good life, and cynicism for a system that allows for so many clean getaways. (Belfort's nominal downfall notwithstanding, those wishing to see the character get his real comeuppance will still be waiting after the end credits have rolled and the lights have come back up.) Make no mistake: "Wolf" is as much a gangster movie as any Scorsese has made, with Belfort as a Bill the Butcher who slices and dices people's bank accounts, a Nicky Santoro who puts your savings in a vise. But on some basic level, he's a cipher whose drug-fueled binges regularly put others (including, in one harrowing scene, his own young daughter) in harm's way, and who thinks nothing of recruiting his wife's British aunt (an excellent Joanna Lumley) as a front — or, in the movie's distinctive patois, "rathole" — for his offshore accounts. As dramatis personae go, Belfort lacks a tragic dimension: This latter-day Gatsby stares out from his own extravagant Long Island enclave and sees only a blinking green dollar sign.

But a talented performer can do much to camouflage such shortcomings, and that's precisely what DiCaprio does here. A reliably good actor who too often shows you all the hard, technical work he's put into creating a character, the DiCaprio of "Wolf" seems loose and uninhibited and freed of premeditated mannerisms. In his fifth collaboration with Scorsese, he's a constant joy to watch, whether crawling across the floor like a baby while his bombshell second wife (appealing Australian newcomer Margot Robbie, who deserves more screen time) engages in a particularly cruel form of cock-blocking, or rallying his disciples with an impassioned variation on Gekko's "Greed Is Good" speech. DiCaprio doesn't just play this part; he inhales it, along with everything else that goes up Belfort's nose and into his bloodstream.

For anything resembling gravitas, though, one must instead look to the dogged FBI agent Patrick Denham (Kyle Chandler), who sets Belfort in his sights early on and gradually closes in. In one of the movie's best scenes, a cocksure Jordan goes so far as to invite the G-man on to his yacht and comes within a hairsbreadth of bribing him. And Chandler, who projects the effortless, middle-class virtue of a 1950s leading man (a Robert Stack type), plays the scene with a wonderfully sly poker face, leading Belfort the egomaniac to believe he's actually buying what he's selling. But the sting of "Wolf" comes in Denham's realization that, while he may have gotten his man, it's Belfort who may well have the last laugh.

Moments like those keep "Wolf" buoyant and lithe in spite of its redundancies and excesses. But if there's one scene here that is sure to end up in future Scorsese career-achievement montages, it's the epic drugged-out setpiece in which Jordan and Donnie experience a delayed reaction to decades-old Quaaludes, obliterating their motor skills and culminating in an explosively funny battle for control of a kitchen telephone. This live-action variation on the old Looney Tunes cartoon in which Bugs Bunny and the mad scientist get high on ether fumes reveals heretofore unknown reserves of physical comedy in DiCaprio. But more than being just a great gag, it's a representative image: Call it infantile capitalism.

Despite its high price tag, the pic's physical production is more modestly scaled than the likes of "The Aviator," "Gangs of New York" and "Hugo," save for one elaborate, CG-intensive sequence in which Belfort's yacht nearly capsizes in a violent Mediterranean storm. Otherwise, most of the movie is confined to trading floors, boardrooms and suburban McMansions, rendered by Prieto and production designer Bob Shaw ("Boardwalk Empire," "The Sopranos") with the bright, Windexed sheen of strip-mall, office-park America. The redoubtable costume designer Sandy Powell has everyone looking suitably snazzy, in keeping with Stratton Oakmont's policy of inhouse custom tailoring for its employees.

Reviewed at Paramount screening room, New York, Dec. 6, 2013. MPAA Rating: R. Running time: 179 MIN.
Production

A Paramount release presented with Red Granite Pictures of an Appian Way/Sikelia/Emjag production. Produced by Martin Scorsese, Leonardo DiCaprio, Riza Aziz, Joey McFarland, Emma Koskoff. Co-producers, Adam Somner, Richard Baratta, Ted Griffin. Executive producers, Georgia Kacandes, Alexandra Milchan, Rick Yorn, Irwin Winkler, Danny Dimbort, Joel Gotler.
Crew

Directed by Martin Scorsese. Screenplay, Terence Winter, based on the book by Jordan Belfort. Camera (Deluxe color, widescreen, 35mm/Arri Alexa HD), Rodrigo Prieto; editor, Thelma Schoonmaker; executive music producer, Robbie Robertson; music supervisor, Randall Poster; production designer, Bob Shaw; art director, Chris Shriver; set decorator, Ellen Christiansen; costume designer, Sandy Powell; sound (Dolby Digital), James Sabat; supervising sound editors, Philip Stockton, Eugene Gearty; re-recording mixer, Tom Fleischman; visual effects supervisor, Robert Legato; visual effects producer, Mark Russell; visual effects, Scanline VFX, Method Studios, Brainstorm Digital, Crazy Horse East, Lola VFX, special effects supervisor, Drew Jiritano; stunt coordinators, Blaise Corrigan, George Aguilar; associate producer, Marianne Bower; assistant director, Adam Somner; second unit director/camera, Robert Legato; casting, Ellen Lewis.
With

Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Kyle Chandler, Jon Bernthal, Jon Favreau, Rob Reiner, Jean Dujardin, Joanna Lumley, Cristin Milioti, Christine Ebersole, Shea Whigham, Katarina Cas, P.J. Byrne, Kenneth Choi, Brian Sacca, Henry Zebrowski, Ethan Suplee.

Quote from: Agota on 17-12-2013, 19:34:33

Quote from: crippled_avenger on 17-12-2013, 17:49:04

Ova potentna faza svoj vrunac postiže film kasnije u ESSENTIAL KILLINGu ali CZETRY NOCE ostaje naslov koji itekako zaslužuje pažnju.

Nisam pogledala ESSENTIAL KILLING, a sto se tice filma CZETRY NOCE Z ANNA, pa to je pravo malo remek-delo. Strasan film. Recimo... ne bi trebalo da ga propuste fanovi Kjeslovskog.

Pogledaj obavezno, ANNA mi je promakla onomad i mnogo mi je krivo...

The Oscar winner has a strong relationship with Warner Bros. and star Ben Affleck

Chris Terrio, who won an Oscar for writing "Argo," has been hired to write the latest draft of "Batman Vs. Superman," an individual familiar with the project has told TheWrap.

Warner Bros. has no comment.

Ben Affleck and Henry Cavill star as the titular superheroes, while Gal Gadot will be introduced as Wonder Woman. Jason Momoa is also in talks for an unspecified role, and the studio reportedly has its eye on its "Her" star Joaquin Phoenix to play Lex Luthor, though his representatives had no comment regarding that rumor.

Phoenix has been sought for several high-profile roles over the years, though the notoriously selective actor has turned many of them down in order to do more challenging indie films such as "The Master" and "Her," for which he recently earned a Golden Globe nomination.

"Man of Steel" stars Amy Adams, Diane Lane and Laurence Fishburne will also return for the comic book sequel, which hits theaters July 17, 2015.

Terrio scripted Affleck's Best Picture winner "Argo," so he has a strong relationship with the Batman actor. He will rewrite David Goyer's screenplay, as Goyer is in the midst of developing several projects including WB's "Sandman" movie, which he'll produce with Joseph Gordon-Levitt.

Terrio is represented by WME, Anonymous Content and attorney James Feldman.

The Hollywood Reporter broke the news.

Pogledao sam ARME RIDDERE Magnusa Martensa, nastao po priči vrlo traženog norveškog krimi-pisca Jo Nesboea. Jo Nesboe je poznat po filmu HODEJEGERNE koji je lansirao Mortena Tylduma a ARME RIDDERE je bio sekundarni projekat po njegovom pisanju baš u to vreme. Reč je o slabijem filmu od HODEJEGERNE, lokalnog dometa, ali svakako internacionalno razumljivog senzibiliteta. U norveškom maniru tehnički kompetentnog ali ne naročito inspirisanog filma, pretežno televizijski reditelj Magnus Martens nudi post-tarantivnovsku krimi-komediju sa obiljem crnog humora koji je više formalan nego istinski duhovit, ali mu se ne može prebaciti puno jer film koji traje 82 minuta zbilja zna svoje mesto.

Za razliku od mnogih derivata kako Tarantina tako i Guy Ritchieja koji je sigurno još odgovorniji za ovaj film, Nesbo i Martens barem nude norvešku preciznost, ne rasplinjuju se i smeštaju film u relativno zanimljiv i svež ambijent na granici Norveške i Švedske. Ipak, čini mi se da su mogli još više da iskoriste lokalnu specifičnost.

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Quote from: crippled_avenger on 19-12-2013, 20:44:14


Chris Terrio, who won an Oscar for writing "Argo," has been hired to write the latest draft of "Batman Vs. Superman," an individual familiar with the project has told TheWrap.

Radujem se, radujem! Meni je Man of Steel jedan od pet najboljih filmova godine!

Kad smo već kod toga, gde si kupio BR?


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Pogledao sam THE SPECTACULAR NOW Jamesa Ponsoldta, film snimljen po romanu Tima Tharpa, jedno od onih ostvarenja za koje se upitam da li smo američki kritičari i ja gledali isti film. Ovo je priča o mladom provincijalcu koji voli da zivi u "sadašnjem trenutku" tj. da bekrija dok je mlad i slobodan. Upoznaje devojku koju ranije nije primećivao i ona postaje pozitivan uticaj na njega, potom oni zajedno sreću njegovog oca koji je takođe želeo da tako živi i sada je matora propalica...

I sve to je upakovano u film u kome nam sat i po vremena junaci sve vreme govore ono što bi trebalo da razumemo iz radnje i dijaloga o drugim stvarima. Ponsoldtov film u sebi nosi prejviše mejnstrim uticaja a junaci su mu previše pojednostavljeni da bi opravdali ovu vrstu neprekidne banalne introspekcije, neprekidne priče o tome kako se osećaju i kakvi su im porodični odnosi, želje i očekivanja. A opet po tome koliko odstupa od neke ustaljene mejnstrim dramaturgije koja jeste jasna ali nikada nije toliko napadno eksplicitna, možda zaslužuje neki indie tretman koji mu izmiče.

THE SPECTACULAR NOW po tome šta junaci izgovaraju deluje kao dekonstruckija filma Camerona Crowea u kome junaci talk small and thing big. Ovde they talk big and think big, isto govore, misle i rade a to je nedopustivo na čisto školskom nivou.

Miles Teller je interesantan mlad glumac i u ovoj ulozi je pristojan iako ne može da pobegne od pogrešno koncipiranog teksta. Kyle Chandler se pojavljuje u efektnoj, maloj ulozi, ali ni njegov lik ne uspeva da se odmakne od osnovnog problema ovog filma a to je preeksplicitno verbalno artikulisa je problema junaka.
Da nam nije iz minuta u minut saopštavao o čemu govori, ovo je mogao biti simpatičan primerak omladinske indie melodrame. Ovako, ostaje silan promašaj koji ostavlja utisak ozbiljnog neznanja na delu.

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Quote from: crippled_avenger on 20-12-2013, 14:23:04
Kad smo već kod toga, gde si kupio BR?


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Dole, u bivsem Mamutu... Tu imaju dobar izbor, jedino sto se filmovi brzo rasprodaju zato sto dobijaju po pet, sest komada.

Pogledao sam LE PASSE Ashgara Farhadija, ovogodišnjeg festivalskog favorita kog potpisuje Iranac osvajač oskara za najbolji strani film. U ovom ostvarenju Farhadi se etablira kao prevashodno francuski reditelj i persijski odnosno arapski aspekt je sveden samo na fusnotu kroz likove nekoliko emigranata. Kao i ranije okupio je powerhouse cast za francuske, ali i internacionalne prilike, tu su Berenice Bejo i Tahar Rahim.

Nažalost, LE PASSE je prilično konvencionalna melodrama koju je Farhadi sa potrebnih stotinak minuta naduvao na sto trideset izborivši bez ikakve sumnje status art house filma. Međutim, u samom korenu filma LE PASSE leži pre svega jedna konvencionalna melodrama o preljubi i njenim posledicama koja bi kao takva pristojno funkcionisala kao repertoarski film. Izbacivši takvu priču u jedan tako ekskluzivan format filma koji traje preko dva sata, Farhadi ga je izmestio u art house u domen u kome ova priča ipak nema šta da pruži.

Naprosto LE PASSE ne donosi ništa novo ili barem provokativno što već u ovom domenu nismo videli. No, Farhadijeva zvezda još uvek dovoljno sija da se ovakvi utisci ipak prikriju. Očigledno je LE PASSE jedan od onih filmova koji svojim trajanjem kupuju status, i spada u vrlo specifičnu "kulturu dugačkog filma" koji se po tome automatski izdvaja i naglašava da "ima nešto da kaže". Međutim, upravo stvaranje takve pozornosti najviše šteti filmu LE PASSE.

Pored trajanja koje priča ne može da izdrži, kao jedna od slabosti filma izdvaja se glavni lik Ahmada i to ne samo na nivou scenarija već i na nivou glumačke interpretacije koju nudi iranski glumac Ali Mossafa. Naprosto svi likovi ali i glumci koji ga okružuju su zanimljiviji od njega i on upada u tipičnu klopku pasivnih glavnih likova koji nemaju da ponude mnogo više od moralne ispravnosti i nekakvog fiktivnog "etičkog težišta" filma.

Farhadijev film je više francuski nego iranski, dakle ipak više igra na estetizaciju i pripovedanje nego na čistu kontemplativnost, pa u tom domenu i pruža najviše. Ipak, upravo ti aduti su se mogli mnogo bolje istaći da je film bio umereniji u svom formalnom zamahu.

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Quote from: crippled_avenger on 17-12-2013, 22:37:53

Quote from: Agota on 17-12-2013, 19:34:33

Quote from: crippled_avenger on 17-12-2013, 17:49:04

Ova potentna faza svoj vrunac postiže film kasnije u ESSENTIAL KILLINGu ali CZETRY NOCE ostaje naslov koji itekako zaslužuje pažnju.

Nisam pogledala ESSENTIAL KILLING, a sto se tice filma CZETRY NOCE Z ANNA, pa to je pravo malo remek-delo. Strasan film. Recimo... ne bi trebalo da ga propuste fanovi Kjeslovskog.

Pogledaj obavezno, ANNA mi je promakla onomad i mnogo mi je krivo...

Izvanredan i ESSENTIAL KILLING, s tim sto nisam sigurna da li je bolji od ANNE. Prakticno i jedan i drugi sa po dvadesetak recenica u  filmu.
Kamera je ovde neverovatna. Vincent Gallo mozda ima blagu prednost  jer je uloga i fizicki i mentalno iscrpljujuca, pritom u ekstremnim uslovima .
U svakom slucaju-vredelo je.

Stari se bavi sniženim cenama knjiga...

http://starikadar.blogspot.com/2013/12/sumrak-knjige.html

THE SET-UP Roberta Wisea iz 1949. godine je klasik bokserskog filma, egzistencijalistička priča bazirana na poemi Josepha Moncure Marcha.

Wise je u formi B-filma napravio film koji je školski primer za razne postupke, od smeštanja priče u realno vreme trajanja filma, pa sve do čiste vizuelne ekspresije ali i kamernog izraza, ali povrh svega ovaj film je škola suptilne dramske ironije.

THE SET-UP prati priču boksera veterana koji je već decenijama one punch away od uspeha ali nikako da ga dosegne. Okolina je umorna od njegovih pokušaja da zada taj potrebni udarac i postigne uspeh. Pred novi meč u kom se očekuje njegov poraz, kontemplira o poziciji nižerazrednih profesionalnih boksera ali kada uđe u ring, kreće bespoštedna borba u kojoj prima puno udaraca ali oseća da bi ovo mogla biti ta borba u kojoj će pobediti. Problem je u tome što ne zna da je borba nameštena, da treba da izgubi ali da mu to nije rečeno jer se njegov poraz očekivan od svih ljudi koji ga okružuju.

Wiseov film traje 72 minuta, izuzetno je precizan, bez viškova, reč je o školskom primeru onoga zašto su pojedini B-filmovi obeležili istoriju kinematografije.

* * * 1/2 / * * * *

Pogledao sam NINJA: SHADOW OF A TEAR Isaaca Florentinea, nastavak dosta neupečatljiovopg DTV ostvarenja u kome je Scott Adkins koliko se sećam više pucao nego što se tukao, ali možda me sećanje i vara. Kako god bilo SHADOW OF A TEAR je bolji film. Ima više tuče i efektnija je a Scott Adkins u domenu borilačkih scena pokazuje sve one atribute zbog kojih je i pozvan da nastupa, a to je pre svega fizička spremnost i akrobatska veština.

Ono što je osnovni cilj ovog borilačkog filma, Isaac Florentine uspeva da ispuni. Ipak, ne ispunjava ono što bi trebalo da bude takođe značajno a to je dramski temelj za borilačke scene.

Naime, film pored tuče ima i nekakve dramske scene u kojima se uspostavljaju likovi, njihovi odnosi i motivi. Naravno, ne treba naglašavati da je to sve krajnje ukalupljeno i pojednostavljeno i rečju, nezanimljivo, i da se uostalom ova vrsta filma ni ne gleda zbog toga.

Međutim, uprkos tome što su ninja filmovi oduvek bili neka vrsta akcione pornografije, barem u tom pogledu što im priča nije bila na prvom mestu, stariji filmovi su ličili na bioskopske porniće a novi Florentineov rad ne može da se otme utisku da ponajviše liči na sadašnje DTV porniće u kojima više nema ni trunke pokušaja da se napravi nekakva priča koja će učiniti da zaliče na film.

Florentine je od kolovođa DTV preporoda, očigledno u međuvremenu izgubio ideju o tome kako bi ti filmovi trebalo barem da simulirajunekakav integritet i da se ne pretvaraju u puke platforme za borilačke scene.

Ako tome dodamo da ovi filmovi sada više nemaju apsolutno ništa ekskluzivno u tematskom pogledu. Prvi talas ninja filmova je recimo mogao da se osloni na maltene potpuno dosustvo ove mitologije u holivudskom mejnstruimu, dočim danas imamo jako skupe filmove sa ninja tematikom, imamo filmove u kojima se biju ozbiljni karakterni glumci itd. sama DTV scena je morala da napravi korak napred. I ona ga je i napravila. Prošlogodišnji UniSol film DAY OF RECKONING je bio upravo to. Ipak, rekao bih da Isaac Florentine više nije frontmen tih kretanja koja daju dignitet DTVu.

Scott Adkins u glavnoj ulozi ponovo pokazuje da ima jako veliki potencijal, naročito kada krene borba. On je do sada na najrazličitije načine već overio veliki ekran, od epizode kod Kathryn Bigelow do uloge henchmana u EXPENDABLES 2 a igraće i antičkog vladara u HERCULESu Renny Harlina gde će mu dobro doći britanski akcenat. Ipak, nijedna od tih uloga kao da ne dobacuje do njegovog potencijala i Boyka odnosno DAY OF RECKONING ostaju njegovi najznačajniji dometi koje nikako da ponovi i uspostavi kao standard.

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Quote from: crippled_avenger on 23-12-2013, 13:14:39
Pogledao sam NINJA: SHADOW OF A TEAR Isaaca Florentinea, nastavak dosta neupečatljiovopg DTV ostvarenja u kome je Scott Adkins koliko se sećam više pucao nego što se tukao, ali možda me sećanje i vara.

Mislim da te vara. Ima tri godine otkad sam ga gledao, ali ja se uopšte ne sećam da i u jednom trenutku Skot koristi vatreno oružje. Proveriti sa Willom, znam da je njemu taj film bio izuzetno drag, pa se on sigurno seća detalja. A i čini mi se da se i tebi onomad bio prilično dopao i da si ga poredeći ga sa Ninja Assassin, isticao kao uspeli nindža film.

Moguće, ali u svakom slučaju ne sećam ga se. Odnosno ono čega se sećam nije povoljno, pregledaću kartoteku...


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Evo šta sam onomad rekao:

"Pogledao sam film NINJA Isaaca Florentinea.

Isaac Florentine je delovao kao nova velika nada DTV filma, kada je postigao veliki uspeh sa UNDISPUTED 2, međutim, na kraju, ispostavilo se da je on započeo neke stvari a da su drugi više imali koristi. Možda to ima vze i sa nekim njegovim rediteljskim ograničenjaima, ali činjenica je da je Florentine lansirao Scott Adkinsa, da je Florentine uveo Michael Jai Whitea u respektabilne DTV vode, konačno da je on među prbima uveo JJ Perryja kao koreografa akcije.

Ove godine, Michael Jai White je imao BLOOD AND BONE a JJ je privukao pažnju u TORURNAMENTu a oba ova naslova su tokom sezone proglašena za najbolje DTV filmove, možda čak i u istoriji ovog produkcionog profila. I u oba slučaja, Isaacovi saradnici rade bez njega.

NINJA je film sa Scott Adkinsom. Reklo bi se da je profilisan da bude DTV parnjak NINJA ASSASSINu, da se na najbolji mogući način eksploatiše taj revival ninja filma.

Kao klinac bio sam veliki fan ninja filmova i ono što sam najviše voleo u njima, od naslova sa Sho Koshugijem, preko FIVE ELEMENT NINJA pa sve do potpunih opskurnosti tipa filipinsko-američkog NINJA WARRIORS sa Ron Marchinijem, jeste taj spooky momenat u kome su njihovi načini ubijanja na ivici horora, i ta pozicija da u suštini niko se drugih ninji ne može da ih pobedi, da je pred njima i najmoćnija policija sa konvencionalnim vatrenim oružjem, nemoćna.

NINJA Isaac Florentinea nažalost više je na liniji konvencionalnog martial artsa i ninje nisu apsolutno nadmoćne, pa i same povremeno posegnu za vatrenim oružjem. U tom smislu, ovaj naslov ne može da zadovolji ikoga ko je tokom osamdesetih pasionirano čitao časopis TAJNE NINĐI ili pak odrastao uz ovu vrstu apsoultne mistifikacije tog miljea.

Scott Adkins je cool u glavnoj ulozi i još od vremena kada je Dolph Lundgren bio kadar da se bije nismo imali krupnog belca koji ovako dobro vlada veštinama, bez problema odrađuje udarce nogom i razna bacanja. Od starta je bilo jasno da će Adkins biti leading man i u ovom filmu je to i ispunio.

Kad je reč o akciji, Isaac isporučuje nekoliko vrlo solidnih od kojih su napad u stanu i borba u vozu najspektakularnije. Ono gde Isaac međutim pada jeste vezivno tkivo u kome on zaista ne uspeva da postigne visok nivo, ne samo zato što je priča bezveze (nismo se ni okupili zbog priče) nego ti delovi deluju kao da su malo nemarnije realizovani.

Čitav film deluje malo arhaično, što je OK, ali povremeno koristi savremene efekete i wire fu što ga čini neujednačenim. Sasvim sigurno posle TOURNAMENTa, Isaa Florentine pripada drugoj ligi, a Scott Adkins bi trebalo da se potrudi kao leading man prilikom izbora projekata.

NINJA je u tom smislu cool projekat, ima kopču sa bioskopskim filmom na koji aludira (u Maleziji čak ide i u bioskope) i to je sve u redu. Međutim, DTV je odmakao od ovog nivoa tokom 2009. a taj pomak se u ovom filmu nije osetio.

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Pogledao sam BATTLE OF THE DAMNED Christophera Hattona, DTV film sa Dolph Lundgrenom, mnogo bolji nego što bi trebalo da bude, i mnogo bezobrazniji nego što bi iko očekivao. Hatton definitivno nije reditelj koji je doneo neku apartnu poetiku ili autentičan kvalitet u DTV arenu, ali kao čovek sa predistorijom na SyFy kanalu, ima nerv za ekscentričnij pokušaje prevazilaženja niskog budžeta i zahvaljujući tome uspeva da snimi vrlo simpatičan C-akcijaš.

Dolph predvodi grupu komandosa poslatih u evakuisani grad kojim divljaju zombifikovani stanovnici, žrtve neuspelog biotech eksperimenta. Njegov zadatak je da odatle izvuče kćer jednog moćnika.

Tokom akcije, on će upoznati grupu preživelih koji su organizovali komunu ali i naići na grupu robota poslatih da obave isti posao.

U ovom skupu gde imamo Dolpha, robote, zombije i mladu junakinju koja se opire autoritetima, rekao bih da je zapravo Dolph pružio najmanje. Umesto da iskoristi ovu neobičnu priliku da u DTV talogu napravi nešto zanimljivo, Dolph se ponaša nešto letargičnije nego inače, pokazujući da su ga godine gotovo sasvim samlele.

Ipak, ukupan zbir utisaka je povoljan. Hatton nije reditelj kog će posle ovog filma prepoznati veliki studiji i dati mu priliku da radi. Dolph posle njega neće postati manje potrošen nego što već jeste. Ali BATTLE OF THE DAMNED će ostati kao primer DTV filma u kome su autori bili dovoljno bezobrazni da pokušaju nešto drugačije.

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SAVING MR BANKS Johna Lee Hancocka nije prvo veliko razočaranje ove sezone. Ipak, spada među krupnija. Od filma studija Disney koji govori o samom Waltu i njegovom pokušaju da otkupi prava za knjigu MARY POPPINS od svojeglave autorke P.L: Travers očekivao sam veličanstveni omaž starom Holivudu i njegovom najatipičnijem studiju, bez ikakvih ulazaka u mračnu stranu Waltove ličnosti, ali sa svim ključnim detaljima koji se mogu staviti u prvi plan u okvirima korporativne kulture i slavne istorije ovog giganta. Umesto toga, nismo dobili ništa drugo do monoton film televizijskog kalibra, u kome se Tom Hanks u ulozi Walta Disneya minimalno pojavljuje, a ličnost koju igra se minimalno rasvetljava, dočim Emma Thompson dobija da igra stereotipni sitkomasti lik namćoraste spisateljice zlatnog srca.

Problem je u tome što je i televizijska produkcija a to barem Hanks dobro zna, daleko otišla u odnosu na ovo što nam pruža Hancock i to po scenariju koji je proteklih godina bio izuzetno visoko rangiran.

Kao i mnoga druga dela bazirana na psihologiziranju i SAVING MR. BANKS polazi od pretpostavke da velike stvari nastaju iz problema - svemir iz praska, čovekova seksualnost iz Edipovog kompleksa itd. Tako i ovde imamo priču o Elektrinom kompleksu i traumatskom jezgru P.L. Travers koje je zbog teškog odnosa sa ocem rezultiralo knjigom MARY POPPINS. Priča o Pameli kao devojčici data je paralelno sa njenom holivudskom avanturom i čini ovaj film prilično napornim za gledanje jer pratimo dve paralelne priče od kojih je ona glavna, o Disneyu zapravo lošija.

Konačno, ni ne shvatam koji je to Veliki problem doveo do nastanka dela o kom govori sam film a to je Disneyeva ekranizacija, osim nekih površnih detalja kao što je Waltov lični odnos prema deci i njegov inspirativni govor na kraju koji mi je izazvao nelagodu po količini opštih mesta i zašećerenosti.

Ako imamo u vidu da je Hanks kao glumac i producent u filmu kao što je THE GREAT BUCK HOWARD podjednako elegično ali i inteligentno prikazao svet šoubiznisa, ekscentrika koji nailaze na nerazumevanje, sukob kapricioznih i preduzimljivih itd. čudi me da je u ovom znatno ambicioznijem filmu pristao na ovako pojednostavljenu monotonu i ispraznu sliku zanimljivih ličnosti i događaja.

Srećom, čini mi se da je i kritika prepoznala da su velika očekivanja od ovog filma mahom ostala neispunjena tako da se nadam da ovaj promašaj neće biti kanonizovan još i nekakvim "oskarima".

Poslednjih godina, Akademija rado nagrađuje filmove o Holivudu a i producenti ih sve češće rade. Ipak, kvalitet tih filmova varira, uprkos tome što se teme često ponavljaju. BANKS je imao priliku da bude prilično autentična priča u tom pogledu, kao priča o Disneyu koju podržava sam studio. Nažalost, u tome nije uspeo.

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Pregled toga gde sve sede prava na ekranizacije Marvelovih likova:

http://www.fool.com/investing/general/2013/12/25/marvel-movie-rights-and-why-we-cant-have-nice-thin.aspx

Pa nema nekih iznenađenja oko prava?

Nema, nema, znali smo sve ovo nego je lepo sistematizovano na jednom mestu da se vidi kako je sve to ludački iscepkano i zašto nećemo videti Avengers i X-Men krosover za kojim žudimo.

Meni bi X-MEN crossover sa AVENGERSima bio prihvatljiv samo ako ga radi Fox. meni je ova linija FIRST CLASS/WOLVERINE u Japanu hvale vredna. Mada, mislim da u ovom trenutku nema jačeg od onoga sto su Snyder i Nolan napravili u MAN OF STEEL. Iako mi je FIRST CLASS recimo bio bolji od bilo čega što je Nolan radio solo.

I meni je First Class nekako najdražiji. A ja i inače ni u stripu ne padam lako na kompani krosovere, tako da, što se mene tiče, nek nastave ovako, u redu je.

Crossover je po definiciji znak dekadencije. E sad, ako je u stripu on bio potreban jer su autori ušli u potpuno očekivanu i opravdanu krizu, nije mi jasno zašto je to sebi dopustio superherojski film...

Da se razumemo, crossover je ljupka stvar kad je na nivou detalja, tipa u MAN OF STEEL postoji strip Blaze Comicsa i stvari tog tipa...

http://www.empireonline.com/features/man-of-steel-easter-eggs/p1

Quote from: crippled_avenger on 26-12-2013, 13:44:09
Crossover je po definiciji znak dekadencije. E sad, ako je u stripu on bio potreban jer su autori ušli u potpuno očekivanu i opravdanu krizu, nije mi jasno zašto je to sebi dopustio superherojski film...

Iz identičnog razloga kao strip: kreativna kriza ili ne (najčešće da), kompani krosoveri čak i danas, a kamoli pre 29 godina kada su krenuli, generišu ogromno interesovanje kod core potrošača a koje onda podstakne i casual potrošače snagom peer to peer hajpovanja i rezultat je mnogo veći obrt nego što je u regularnoj situaciji. Avengers je već pokazao kako ovo uspešno uspeva na filmu uveliko premašujući uspehe Hulka, Tora, Iron-mana i Kapetana Amerike ne samo na osnovu toga što je ipak bolji film od nekih od njih.

Quote from: crippled_avenger on 26-12-2013, 13:51:49
Da se razumemo, crossover je ljupka stvar kad je na nivou detalja, tipa u MAN OF STEEL postoji strip Blaze Comicsa i stvari tog tipa...

http://www.empireonline.com/features/man-of-steel-easter-eggs/p1

I u Watchmenu (filmu) postoji plakat za film o Betmenu što pokazuje koliko Snyder nije shvatio smisao Watchmena   

Snyder jedino može da produkuje kvalitet u sinergiji sa Nolanom. A rekao bih da važi i vice versa ali u malo manjoj meri jer Nolan ume da ubode i sam. Međutim, ovo je sjajan spoj, Snyderov osećaj za vizuelno i Nolanova funkcionalna pismenost. Stoga, da, Snyder nije razumeo Watchmena, i to fundamentalno, između ostalog stavio je ogroman akcenat na vizuelno u stripu kome je crtež pod B.

i dalje ne razumijem glorifikaciju prokapitalističkog Supermena

ali zanima me jedna nelogičnost (ili bar meni djeluje nelogično) u MAN OF STEEL

ako Kriptonovci u stvari postaju snažniji na Zemlji nego što u stvari jesu, čemu teraformacija?

To je zato što imaju ideologiju, imaju nešto što im je sveto, i ta ideologija ih sprečava da sagledavaju stvari iz praktičnog ugla. Zato ne beže sa svoje planete, iako to mogu vrlo lako, zato nemaju kolonije na drugim planetama, zato im fantomska zona ne pada na pamet kao beg od kataklizme. Ideologija je vrlo moćan pokretač radnje, čak iako se svodi na to da ne radiš ništa

Deo te ideologije je da Kriptonac sticanje supermoći na Zemlji doživljava kao obesmišljavanje onog što je kriptonsko u njemu.

Stvarno moram da se nakanim da pogledam taj Men ov Stil.  Srećom, idu praznici.

mac pokušava da na jedan suptilan način kaže da su Kriptonci idioti

pazi kad Pacific Rim priča sa dinosaurusima ima više smisla

Pa, to je valjda onaj This is Sparta momenat apdejtovan za novu generaciju.

Teraformiraju planetu jer kao što si video, ne prija im atmosfera na Zemlji a Kal El se navikao jer je došao kao beba.


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da, ali ako im ne prija atmosfera što ne odu na drugu planetu?

Meni je to generalno nejasno kod svih alien invazija, ne odgovara im atmosfera a hoće baš ovdje da dođu, pored biliona drugih planeta

upravo suprotno, vanzemaljci koji stvarno hoće da okupiraju Zemlju mogu da budu samo oni kojima atmosfera u potpunosti odgovara

ili dišeš kiseonik ili ne dišeš

ako se neko može navići kao beba to znači da su biološke vrste slične, onda atmosfera ni izbliza nije toliko različita da mora da se pokreće neka teraform mašinerija

Ja generalno izbegavam da razgovaram o naučnim objašnjenjima SF filmova ali u slučaju MAN OF STEEL ovo itekako ima smisla. Naime, verovatno da vazduh na Zemlji sadrži sve ono što treba i Kriptoncima ali ne u razmeri koja im odgovara. Kao što ljudima ne prijaju različite nadmorske visine ali oni koji na određenoj visini žive mogu da se adaptiraju.


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A evo i Starog na zajedničkom zadatku sa John Reynoldsom:

Istorijsko pomirenje! Posle velike bure koja se podigla zbog emitovanja serije ,,Ravna gora" nedeljom uveče na RTS-u, Javni servis je izbalansirao komuniste i četnike, pa tako subotom uveče u udarnom terminu gledamo partizanske filmove.

Tako smo prethodne dve subote, u istom terminu u kojem nedeljom ide serija Radoša Bajića (emitovano sedam epizoda do sada), gledali filmove ,,Valter brani Sarajevo" i ,,Most" (u oba glavne uloge igra Bata Živojinović), a narednih vikenda gledaćemo ,,Partizansku eskadrilu", ,,Sutjesku", ,,Bitku na Neretvi"...

Mada je redakciju Naših novina zvalo nekoliko čitalaca, koji su uočili podudarnost koja teško da može biti slučajna, urednik filmske redakcije RTS-a Nikola Popević tvrdi da se filmovi emituju sada jer su upravo kupljeni i da to nema veze sa protestom SKOJ-a ili pismom SUBNOR-a niti treba da posluže kao neko opravdanje ili poravnanje.

Mala provokacija!

- Javni servis nedavno je otkupio pet remasterovanih partizanskih filmova, a kako su partizani večita tema, krenulo se s njihovim emitovanjem. Time se ne obraćamo ni SKOJ-u, ni SUBNOR-u, već svim gledaocima. A ovaj termin je prosto splet okolnosti. Ukazala se prilika da kupimo odlične kopije, što se moglo videti i po kvalitetu ,,Mosta" prošle subote. Nema zadnjih namera, deluje kao mala provokacija samo zato što su filmovi došli u trenutku kada emitujemo ,,Ravnu goru" - kaže za Naše novine Popević.

Član rukovodstva SKOJ-a (Savez komunističke omladine Jugoslavije) Vladimir Marković, međutim, ne veruje u slučajnost, pa konstatuje da RTS pokušava da opere savest, ali i poručuje da neće odustati od protesta.

- Ovde se svesno menja istorija. Borićemo se protiv šeme RTS-a novim protestima jer je ono što se radi sramotno - kaže Marković.

,,Sporan samo naslov"

Sin Radoša Bajića Nedeljko Bajić, producent i glumac u ,,Ravnoj gori", napominje da ne misli da RTS pravi veštački balans puštanjem partizanskih filmova, jer su oni deo srpske kinematografije i pritom su, kako kaže, odlično urađeni zbog čega zaslužuju da budu gledani. Za reakcije SKOJ-a i SUBNOR-a na ,,Ravnu goru" navodi da su infantilne:

- Reaguju samo zbog naslova, da smo dali bilo koji drugi naziv, ne bi bilo reakcije. Serija nikoga ne favorizuje i ne namerava da rehabilituje, već je ideja da na čestit način pokaže nešto što svi znamo, a nismo čitali 70 godina. Zašto je nemoguće napraviti seriju o tome? Vidite da može, uostalom osma epizoda nosi naziv ,,Tito", trebalo bi da svi budu zadovoljni - kaže za Naše novine Nedeljko Bajić.
Antrfile:

Vojnov: RTS pravi ideološki balans
Filmski kritičar Dimitrije Vojnov smatra da je ciklus partizanskih filmova izuzetno vešt, majstorski potez urednika filmskog programa Javnog servisa i da emitovanje tih filmova paralelno sa ,,Ravnom gorom" ima tri funkcije:

- Prvo, možemo reći da se emitovanjem partizanskih filmova pravi ideološki balans u odnosu na ,,Ravnu goru", koja je doduše više pročetnička na rečima nego na delu. Dalje, možemo reći da RTS pokušava da podseti gledaoce na vreme kada su ljudi koji su nastanjivali ove krajeve umeli da prave filmove jer su partizanski filmovi u estetskom i zanatskom pogledu neuporedivo značajniji domet od ,,Ravne gore". I treće, ne treba odbaciti ni mogućnost da ovim potezom RTS veštački pokušava da probudi interesovanje za ,,Ravnu goru", čija gledanost od samog početka nije impresivna i sve vreme opada.
Sud odložio rehabilitaciju za 45 dana
Viši sud u Beogradu odlučio je juče da za 45 dana odloži postupak za rehabilitaciju Dragoljuba Mihailovića, dok se tužilaštvo ne izjasni o krivičnim prijavama Saveza antifašista Srbije protiv dva svedoka.

Punomoćnik predlagača za rehabilitaciju Dragoljuba Mihailovića Oliver Antić rekao je da nema smisla dalje odugovlačenje postupka i zatražio da se na prvom sledećem ročištu iznesu završne reči.


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