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Isplatio se strateški optimizam koji sam gajio u vezi sa srpskim žanrovskim filmom. Iako su neki klasici poput ŽIVOTA I SMRTI PORNO BANDE (više po svom imaginarijumu žanrovski film nego po ambicijama) i SRPSKOG FILMA uspeli da se pojave, kontinuitet je izboren u radu Dejana Zečevića i Milana Todorovića. Suština je izgleda u tome da su Đorđević i Spasojević snimili značajne filmove koji nisu generisali jače produkciono trenje ni kod nas ni u svetu, ili bar ne za pokušaj da se ponove slični pokušaji, dočim su Zečević kod nas a Todorović u inostrantsvu uspeli da stvore mrežu kontakata za finansiranje svojih filmova. Kao što je posle ČETVRTOG ČOVEKA usledio korak napred sa NEPRIJATELJEM tako je i posle ZONE MRTVIH usledio proporcionalan napredak sa MAMULOM.

U odnosu na ZONU MRTVIH i njeno mesto u DTV ponudi svog vremena (a DTV ponuda više nije ista jer DVD izumire a preuzimaju ga BR a naročito VOD), MAMULA sasvim sigurno zauzima značajniju poziciju.

Za početak, film je ekskluzivniji - nisu u pitanju zombiji već creature feature, a morske sirene spadaju među manje zastupljene u tom podžanru.

Zatim, crnogorsko primorje a naročito Mamula su znatno zanimljivija lokacija od Pančeva (iako u pogledu istorijskih osnova ta horor-zaplet, Pančevo ima jače zaleđe) i u tom pogledu je ovaj film daleko zrelije koncipiran.

Akcije je manje nego u ZONI ali je ukupna atmosfera konzistentnija, priča je celovitiha i rad sa glumcima je bolji.

Iako je montaža mogla biti još surovija prema nekim segmentima, naročito u početku, MAMULA u finalnom proizvodu donosi manje "dečjih bolesti" od ZONE MRTVIH.

U poslednje vreme sam istraživao opus Časlava Damjanovića koji je u svoja dva (ili kako on tvrdi dva i po) filma radio u sličnim uslovima kao Todorović. Dakle, snimao je priče smeštene kod nas, sa kombinacijom američkog i našeg novca i glumaca. I Damjanović je snimio dva izvanredna partizanska filma u tim uslovima. Damjanović je paradigmatičan ne samo zbog kvaliteta svojih filmova, niti zbog produkcionih okolnosti (slične stvari su radili i Radoš Novaković, Slobodan Šijan i Milan Živković) već po tome da je njemu taj "trik" uspeo dvaput i da je u drugom filmu u pojedinim aspektima otišao korak napred u odnosu na prvi.

Jedan od Damjanovićevih aduta kojinedostaje MAMULI jeste potpuno odustvo potrebe da se objasni to što su glumci različitih nacionalnosti kroz nekakve detalje o tome ko je Amerikanac a ko Srbin. Uplitanje u tu vrstu  priče je nepotrebno osim ukoliko u nekom trenutku ne zaigra - recimo Srbin odluiči da osveti nejač time što će prepustiti Amerikanku u čeljusti monstruma. Gledalac će lakše pirhvatiti nahovanog glumca (a danas je ta tehnika dovedena do perfekcije) nego što ga zanima da sluša ko je odakle ako to nema veze sa pričom.

Naravno,  likovi lokalnih vodiča, sumnjivih domorodaca, imaju svoje mesto u hororu, ali onda moraju da se iskoriste, da se javi jezička barijera, da se javi neko razumevanje među lokalcima koje je nedostupno Amerikancima. Toga u ovom filmu nema i samim tim je ta diferencijacija likova nepotrebna.

Scenaristi Milan Konjević i Barry Keating trude se da diferenciraju glavne junake kojih je petoro, što nije mali broj ali je on za ovu vrstu filma nužan da bi imao ko da strada. Ipak, šteta je što ljubavni trougao na koji je potrošeno dobrih petanestak minuta na početku nije nimalo zaigralo u raspletu. Ako postoji ljubomora između dve žene koje se bore za jednog tipa, onda je zgodno da taj problem bude iskorišćen kada se pojavi sirena - "opasnija riba od njih dve zajedno". Da ne govorimo o tome da se odnos u kome je junak rastrzan između dve žene itekako može iskoristiti u priči o biću koje ima "fatalan zov" upravo za muškarce.

Dakle, na nivou scenarija nisu iskorišćeni potencijalni dodatni slojevi koje su na nivou zametka ubacili Konjević i Keating, a onda ih potpuno ispustili.

Što se glumačke podele tiče, Kristina Klebe i Natalie Burn su već razgažene scream queens, sa njima nema greške, Dragan Mićanović je ozbiljan glumac koji vlada zanatom a čini se da su Slobodan Stefanović i Sofija Rajović ispušteni likovi na nivou podele.

Franco Nero je svoje gostovanje pošteno uradio, iskor kao i Miki Krstović, "naše nacionalno dobro".

Ako uzmemo ovakav zbir glumačkih rezultata i ukalkulišemo da film ne stavlja akcenat na naročito spektakulrane smrti - štaviše neke se dešavaju off-screen a ove koje se vide su mahom vrlo jednostavne i jednolične - možda je ljubavni trougao Klebe - Mićanović - Burn nasuprot Nera i Krstovića bio mudrija postavka. No, to je lekcija koju je doneo ovaj film - dakle, ako "topovsko meso" ne strada na pažnje vredan način, lakše je voditi manji broj likova. A to je ovaj film svakako mogao podneti.

Sam monstrum je tretiran u JAWS maniru, uostalom Nerov lik je direktna kopija Quinta kog je igrao Robert Shaw, i omiljeni način izražavanja mu je monolog. Nero to uspeva da iznese što je najvažnije. Što se mene tiče, bolje je prošla publika koja je gledala MAMULU od one koja će gledati NYMPH jer ovaj film više govori o misteriji ostrva nego o sireni.

No, ono što je najvažnije jeste da ovi propusti zapravo nisu svojstveni žanru ili njegovoj nesprovodivosti kod nas već zapravo srpskoj kinematografiji koja slične dramaturško-glumačke probleme vuče već godinama. Dakle, MAMULA potvrđuje kako oslanjanje na žanr okrepljujuće deluje na naš film.

Kada svemu tome dodamo surov tempo rada i tronedeljno snimanje, MAMULA je sasvim sigurno top-shelf DTV proizvod u svojoj produkcionoj ligi, velikim delom zahvaljujući entuzijazmu, kreativnosti i dobrim lokacijama koje su naše obeležje. Ako uzmemo u obzir predistoriju korišćenja naših lokacija u stranim hororima, MAMULA spada u bolje. Ipak je dosta iza CHERNOBYL DIARIES koji za sada ostaje najbolji primer takve saradnje. No, zanimljivo je da je CHERNOBYL DIARIES kao scenograf radio Aleksandar Denić a MAMULU njegov mlađi brat Ivan.

MAMULA je korak napred u odnosu na ZONU i što je još važnije korak bliže nečemu što bi se moglo definisati kao "srpska škola DTV horora". Bilo bi dobro kada bi se u perspektivi u ovu priču uključili i Đorđević i Spasojević i Radivojević a Zečević je već uključen. Siguran sam da će sledeći Todorovićev rad biti još bolji film, a MAMULA je već sada jedan zreo proizvod.

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Konačno sam se osposobio i krenuo redovnije u bioskop, da nadoknadim propušteno. Posle MAMULE, drugi na redu je ATOMSKI ZDESNA Srđana Dragojevića.

U ovom filmu ima Srđana, ima Srdana, a bogami kada Đura održi monolog o masakru omladine u Tuzli 25. maja 1995. a ne pomene masakr vojnika JNA 15. maja 1992. ima i Sidrana.

Smatram da je ovo film čiji su kvaliteti vrlo značajni, od njih je jedan u prvom a jedan u drugom planu. U prvom planu je kvalitet same ideje, teme, angažmana, dakle mislim da je Srđan Dragojević odlično prepoznao temu i uprkos tome što je ona globalna, dao joj odličnu lokalnu crtu, i rekao bih čak, vrlo dobro opravdao njen regionalni ex-SFRJ karakter koji bi u protivnom samo ostao produkciona poštapalica.

Dakle, opet su "svi Srbi u jednoj nevolji", ovog puta su sve ex-SFRJ zemlje suočene sa kapitalizmom u svojim najoportunijim formama kao što su time share aranžmani. Finansijsko-potrošačko smeće sa Zapada dolazi na velika vrata i produbljuje već ozbiljnu prezaduženost i iscrpljenost lokalnog stanovništva. To je dobra tema i Dragojević je obrađuje iz mametovskog ugla, direktno parafrazirajući GLENGARRY GLEN ROSS.

Ovo je, slobodno se može reći - iako četvrti Srđanov film u 21. veku - zapravo njegov prvi film koji o tom veku zapravo govori. U tom smislu, ATOMSKI je meni bio zreliji i estetski i ideološki zanimljiviji i od GEORGIJA i od PARADE. Mislim da je u tom pogledu izuzetno važno da Srđan kao naš značajan reditelj ukorači u novo vreme i nove izazove.

Drugi, manje vidljiv kvalitet filma jeste veliki rediteljski izazov držanja junaka na jednom mestu, tokom jedne ceremonije, što je uvek težak zadatak, u čemu Srđan takođe uspeva, pokazujući da je i dalje na nivou čistog pripovedačkog zanata među najboljima u regionu. No, ovaj drugi kvalitet je nešto što publici možda nije toliko vidljivo niti čitljivo, ali sasvim sigurno joj pomaže da lakše isprati film.

No, ono što je problem jeste zapravo što film najbolje funkcioniše onda kada uđe u karaktere, a toga ima vrlo malo jer su likovi većinom tipski, i ne samo jednodimenzionalni već i prilično ograničeni u svojim htenjima i osobinama. Izuzev Mladena, Omera i Maje, ostali likovi praktično ne prođu nikakvu transformaciju već sviraju taj jedan ton ceo film što u spoju sa "kursadžijskim" poigravanjem etničkim stereotipima na kraju prilično smeta ovim nespornim kvalitetima filma. Međutim, mislim da je u tom problemu skriven recidiv prošlih filmova. Možda grešim ali mi se čini da se Srđan opredelio za "mali film" ali da se sa time nije pomirio i da je onda poželeo da ga "poveća" uvodeći stare metode koji su donosili rezultate u ranijim filmovima, pre svega PARADI. I onda otud imamo taj nelagodan miks inteligentnog i namerno stupidizovanog, vrlo senzibilnog i kulturrasističkog. U jednoj kritici sam pročitao odličnu formulaciju "winningly stupid" i to je bila karakteristika junaka u PARADI koja je u zadatim okvirima funkcionisala. U ATOMSKOM ona ne funkcioniše. Otud i gaf sa Đurom više vidim kao znak da je ovo film 21. veka u kome više zapravo nema dileme da su srpski zločini jedini zločini u proteklom ratu, to je postalo deo našeg filmskog izraza, kao upotreba određenog pokreta kamere.

No, taj disbalans između "kursadžijskog" pokušaja da se film "naduva" do statusa hita i male intimističke priče, sa tezom koja se ukucava čekićem, što bi recimo bilo svojstvenije Srdanu Goluboviću, predstavlja prilično ozbiljan problem. Naime, ovog puta film skreće u kulturrasizam, naročito u prikazu opsceno karikiranog para iz Niša koji je drastičan čak i za "kursadžijske" standarde. Međutim, pored tog para, problem je što generalno taj humor u ovom filmu upadljivo nije smešan. Naprosto, kada Hrvat kaže "ako su oni Hrvati onda sam ja Srbin" je logika koju smo već previše puta videli i lako je anticipiramo. Za humor je jako važno da u sebi nosi i nešto neočekivano a ovde naprosto kad god krene da se gradi neka duhovitost nema ničega neočekivanog.

Otud ne čudi da je ATOMSKI doživeo fijasko na blagajnama. Iako je cenzus za stimulaciju gledanosti kod nas postavljen nisko, na 30 000 gledalaca, a ovaj film je izgurao oko 40 000, to je ipak katastrofalan pad za Dragojevića. To samo znači da je pokušaj da se film "okomercijali" bio jasan autogol, koliko god negde bio konzistentan sa poetikom.

Mislim da je film ATOMSKI ZDESNA delo koje će puni smisao imati tek na malom ekranu, iako u odnosu na PARADU deluje mnogo manje kao "specijal posvećen temi", a paradoksalno, mnogo je više posvećen temi i snažnije je angažovan. U svakom slučaju, iako ovo nije značajan Dragojevićev film a nije ni uspešan, posle dužeg vremena imam optimizam kad je reč o njegovom daljem radu i prilagođavanju novim izazovima.

S druge strane, ATOMSKI ZDESNA u svojoj nemogućnosti da bude "grandiozan" repertoarski film pokazuje da u novom milenijumu tek treba da artikulišemo estetiku "srpskog imperijalnog filma" koji neće biti kao narodna pesma (MONTEVIDEO) već će donositi i određeni moderan rediteljski postupak. Dragojević je bio nosilac te ideje sa LEPIM SELIMA i RANAMA, a po godinama bi on trebalo da to radi i dalje. Ipak, ima li on snage?

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Good Morning Cannes, Day 7: In First Film Since 'The Artist,' Michel Hazanavicius Gets Booed
Movies | By Jordan Zakarin on May 21, 2014 @ 7:50 am
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Good Morning Cannes, Day 7: In First Film Since 'The Artist,' Michel Hazanavicius Gets Booed

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Major oversight: There was no Uggie to charm the audience

How do you follow up one of the most unusual and unlikely Oscar winners in recent memory? If you're Michel Hazanavicius, you make a movie that seemingly screams "nominate me!"

Ironically, it seems as if "The Search," which premiered on Wednesday at Cannes, falls short of its very serious goals.

Reports are that there was some hearty booing after the screening, and critics are split on the film, both amongst themselves and even within their own reviews. "The Search," which is a sort of remake of Fred Zinnemann's 1948 film set in post-war Germany, has three story lines set amid the Russian invasion of Chechnya in 1999: A young Chechen boy, who escapes with his baby brother after his parents are killed and his sister is raped, is taken in by a relief worker played by Hazanavicius' wife and "Artist" Oscar nominee Berenice Bejo; the young boy's sister goes looking for him; and a young Russian is turned into a killing machine by ruthless soldiers after getting arrested for smoking weed.

TheWrap's Sasha Stone admits that the film is flawed in many ways, but was won over by the import of its message (though she notes that the real conflict, which continues to this day, is far less black and white):

It ends up being emotionally compelling because of Hazanavicius' willingness to tell the story with sentimentality... Either you go with it or you don't. If you do, you will forgive the film's flaws — some stereotyping and perhaps unbelievable plot points. If you don't go with it, you willfully overlook the importance of a story that seeks to bring our attention to just what happened to the Chechen people, much of which few people knows about.  You will do this because the movie didn't work for you, and of course, that is your prerogative. But sometimes there are things about a film that seem to matter a lot more than one viewer's comfort level.

THR's Todd McCarthy erred on the side of not going with it, though he did enjoy parts of the film:

The result is vivid when focusing on those directly involved in the war but laborious when devoted to the fretful hand-wringing of do-gooder outsider characters, which is a lot of the time...  the scenes with the foreign aid workers are windy, platitudinous, repetitive, familiar and not always very dramatic.

The Guardian's Peter Bradshaw was unimpressed with the execution of the film, writing in his two star review:

It could be that Hazanavicius wanted, once again, to channel some of that Old Hollywood big-hearted sincerity — just as he did with his silent-movie triumph The Artist. But the outcome here is naive and misjudged; Hazavicius can't help turning his boy into a sort of Chaplinesque Kid, and there's a very disappointing central performance from Bérénice Bejo.

See photos: Inside Ryan Gosling's 'Lost River' Premiere in Cannes

The Telegraph's Tim Robey also gave the flick a two star review and a great may sighs:

"The Search" is a sober, hatchet-faced and very laboured exposé of Chechnyan war crimes. The self-importance factor is so high, and the reward so low, that it's the first film in this year's Cannes competition to invite a hearty chorus of indignant booing.

Indiewire's Eric Kohn suggests that cinephiles should just stick to the original version of "The Search":

"The Search" lacks the the credible emotions of the original and never assembles a convincing reason for its existence. Instead, Hazanvicius' first conventional dramatic effort is a dispiritingly bland attempt at wartime perseverance. [It] is a dogged kind of film, an eat-your-greens experience, and one which quickly starts to feel like punishment.

In other Cannes news, rich people are still partying on yachts.

Warner Bros. has officially titled the Batman-Superman pic "Batman V Superman: Dawn of Justice" with principal photography starting today in Detroit.

Pic stars Henry Cavill and Ben Affleck with Zack Snyder directing. Pic also stars Gal Gadot as Diana Prince/Wonder Woman, with Amy Adams, Laurence Fishburne and Diane Lane returning from "Man of Steel," Jesse Eisenberg as Lex Luthor, Jeremy Irons as Alfred, and Holly Hunter.

Film is written by Chris Terrio, from a screenplay by David S. Goyer. Charles Roven and Deborah Snyder are producing.

Plot details are unknown.

Production will take place in Detroit as well as areas around Illinois; Africa; and the South Pacific. Film is set to bow May 6, 2016.

The title seems to hint as an origin tale for the untitled "Justice League" film that Snyder has already committed to direct and the majority of the cast is expected to appear in.



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Strip mi je bio bezveze. Trejler ne deluje ubedljivo. Ipak, Matthew Vaughn ima veliki kredit na bazi minulog rada...

https://www.youtube.com/watch?v=yyxDVCb3ky4

Hm... Taj Millarov strip je bio i bolji od nekih drugih njegovih recentnih, tako da... možda od ovog bude nešto...

Pogledao sam i novi pokušaj da se GODZILLA dovede pod tople holivudske skute. gareth Edwards koji je snimio po mnogo čemu fascinantni MONSTERS okušao se kao reditelj i snimio je film koji nije ponovio nijednu grešku PACIFIC RIMa, iako je snimljen za iste producente. Štaviše, Gareth Edwards je snimio film koji je u svakom pogledu baziran na dobrim odlukama. Otud je čudno kako je put u kinematografski pakao ovog filma uspeo da bude popločan TOLIKO dobrim namerama.

Za početak, Edwards je odlučio da ponovi svoj recept iz MONSTERSa. Stavio je ljude u prvi plan. To je ono što je Del Toru možda i bilo jasno na nivou likova ali mu svakako nije bilo jasno na nivou akcije. Edwards je u tom pogledu sve odlično postavio. Jedino što je izostalo su IOLE zanimljivi ljudi na ekranu. Ovaj stepen nezanimljivosti likova se retko sreće u mejnstrim filmu jer ih tu redovno barem igraju glumci sa izvesnim magnetizmom. Kod Edwardsa čak nema ni toga, Aaron Taylor-Johnson je beznadežno lišen harizme za leading mana, odnosno može da bude dobar leading man ako igra čoveka bez harizme kao u KICK-ASS, Bryan Cranston - velikan iz BREAKING BAD je klasičan slow burner - opet nije personality actor koji je potreban za takvu ulogu, Ken Watanabe je naslednik Kena Takakure, solidan ali bez dovoljnog napona da pokrene stvari, i uopšte podela je krajnje lišena energije a scenario im ne nudi dovoljno materijala.

Zatim, sama postavka u kojoj svet zna da postoji Gojira kao tajna, a isto tako postoji i kao deo popularne kulture. To je zanimljiv touch, hvale vredan. Dopada mi se taj radikalni postmodernistički postupak iako nije do kraja razrađen - dakle postojanje monstruma je sačuvano kao tajna ali je narod senzibiliziran da takvo biće zbilja postoji. To je sjajno i skidam kapu.

Ali, nedopustivo je da prvih 45 filma junaci istražuju nekakvu misteriju za koju znamo da se na njenom kraju, u njenom rešenju nalazi kaiju. U redu, razrešenje te misterije je unekoliko izenanđujuće jer se ispostavlja da je Edwards toliko odan Toho izvorniku da Godzilla zapravo nije zli već dobri kaiju, ALI, kakav god kaiju da je problem ovog filma, nema potrebe da gledamo 45 minuta istrage da bismo došli do teme filma date u naslovu. I vrlo jasne svakome ko išta zna o bilo čemu. Tome treba dodati da film traje 123 minuta, dakle nije baš da nas posle toga čega još 100 minuta akcije sa kaijuima.

Konačno, dolazimo do onoga što je bilo sjajno u MONSTERSu a što nije sjajno u GODZILLAi. Naime, sjajno je bilo to što je Edwards postavio likove a onda pustio monstrume da idu okolo i bave se nekim svojim poslom koji zapravo nimalo nije usmeren protiv ljudi već je to neka njihova interna kaiju priča. Slično je uradio i ovde. Međutim, prvo likovi ne valjaju, drugo, ovde je ipak osnov priče u konfrontaciji ljudi i monstruma, dočim je u MONSTERSu cela suština bila u IZBEGAVANJU konfrontacije. To je prisutno i na nivou rediteljske insecenacije i na nivou vođenja priče. Recimo, nedopustivo je da u sred apokaliptičnog događaja, japanski naučnik iznese teoriju da nam je Gojira saveznik, da će nam pomoći, a da američki generali to bez mnogo protivljenja vrlo lako prihvate.

I za kraj, MONSTERS je imao zanimljivo indie kadriranje. Ja sam ovaj film gledao u 2D i ostavljam mogućnost da je kadriranje više prilagođeno za 3D, ne znam. ALI, ovaj film je izuzetno konvencionalno kadriran. Ima nekih scena za koje mi je zbilja neverovatno da ih gledam u ovako skupom filmu 2014. godine. Gareth sporadično pokušava da zapapri ponekim rešenjem ali je to sve beskrajno sterilno. Doduše, možda u 3D ta smirenost kadriranja pomaže boljoj percepciji  dešavanja na ekranu.

Kad je još reč o režiji, film traje 123 minuta i nudi zbilja dosta situacija, ali su one kratke i dosta nerazrađene, samim tim lišene napetosti. Isto tako u nekim scenama efekti (a znamo da je Gareth Edwards velemajstor za te stvari) NAMERNO deluju arhaično kao u Toho filmovima. Meni je to simpatična filmofilska posveta, ali nisam siguran koliko joj je mesto u filmu ovih ambicija.

Kada podvučemo crtu, drago mi je da je GODZILLA uspela i da je uspešnija od PACIFIC RIMa, Edwards je mnogo bolje razumeo kako treba napraviti taj film. Nažalost, krivo mi je što sam film nije bio bolji. On neprestano poziva na uživanje ali osim tih nagoveštaja, nikada ga ne pruži.

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Stari uspeva da uspostavi komunikaciju sa svojim omiljenim rediteljem iako je sa druge strane barikade.

http://t.co/0UKFTXKVzG


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Tom Cruise stars in this cleverly crafted and propulsively executed sci-fi thriller about a soldier forced to relive the same day over and over again.

   
Justin Chang
Chief Film Critic
@JustinCChang
"Groundhog Day" and "Starship Troopers" make surprisingly compatible bedfellows in "Edge of Tomorrow," a cleverly crafted and propulsively executed sci-fi thriller in which an untrained soldier must relive the same day over and over again — expiring violently each time — until he finds a way to defeat the alien marauders that have taken Earth hostage. That our ill-prepared hero is played by Tom Cruise lends a sly if perhaps unintended layer of subtext to this smarter-than-average star vehicle, insofar as the now 51-year-old actor seems to have embraced a similar trial-and-error career strategy: testing out one man-of-action persona after another in his ongoing (some would say undying) bid for bankability. Alas, B.O. success is likely to elude him this time out, as Warners' June 6 release feels surprisingly low on buzz and audience awareness for an f/x-heavy picture with a $175 million pricetag. International returns will have to work extra-hard to make up the difference.

That's a shame, because this enjoyably gimmicky entertainment is not only one of Cruise's better recent efforts, it's also arguably the most purely pleasurable film Doug Liman has directed in the 12 years since "The Bourne Identity." And just as the amnesiac hero of that movie had to gradually get back in touch with his inner killing machine, so the initially hapless, aptly named Maj. William Cage (Cruise) must spend the better part of "Edge of Tomorrow" learning to unlock the ruthless soldier within. Introduced as a smiling representative of the United Defense Force, an enormous military operation designed to defend Earth against a nearly invincible alien race known as Mimics, Cage is a figurehead, not a fighter, which his why he's so dumbfounded when Gen. Brigham (Brendan Gleeson, at his most hardass and no-nonsense) orders him into the front lines of battle, even going so far as to arrest him when he tries to wriggle his way out.

Despite Cage's vigorous protests to his commanding officer (a fine Bill Paxton) that there's been some mistake, his fate is sealed: Strapped into bulky metal combat gear and equipped with high-grade weaponry that he has no clue how to operate, Cage, along with his fellow soldiers, is deployed from London and deposited, none too gently, on a French beach, where a fiery humans-vs.-Mimics battle is raging at full force. It's hardly an accident that the setting immediately evokes Normandy, and while what follows isn't exactly the opening sequence from "Saving Private Ryan," it's a brutal massacre all the same: The humans are gravely outnumbered, and even UDF's star soldier, the tough-as-hell Rita (Emily Blunt), is killed in the onslaught.

Through sheer dumb luck, Cage does manage to destroy one particularly ugly, oversized Mimic, only to lose his own life when he gets a faceful of the creature's highly corrosive blood. End of movie? Not quite. To his utter disbelief (although audiences will suspend theirs easily enough), Cage awakens to find that the day has started all over again, and once more he must attempt to talk his way out of the situation, get dropped into battle and try to survive the bloodbath on the beach as long as he can. Every time he dies, the clock is reset and he gets another chance to reshape the future, though it will take many, many replays before he learns how to play this particular cinematic videogame — where dying is as harmless as it is in "Candy Crush," if rather more painful — and reach the elusive next level.

The screenplay was adapted from Hiroshi Sakurazaka's much-lauded 2004 novel "All You Need Is Kill" by Christopher McQuarrie, who knows his way around a mind-bending mystery scenario ("The Usual Suspects"), and by Jez and John-Henry Butterworth, who previously worked with Liman on "Fair Game." Crucially, the scribes have solved the problem of how not to make the film play like a repetitive slog; aided enormously by James Herbert and Laura Jennings' snappy, intuitive editing, they tell their story in a breezy narrative shorthand (and at times, sleight-of-hand), transforming what must surely be an unbelievably tedious gauntlet for our hero into a deft, playful and continually involving viewing experience. Among other things, "Edge of Tomorrow" is a movie that slyly teaches you how to watch it.

Under these tight structural constraints, a month's worth of replays can be dispensed with in minutes, and an event that seems to be transpiring for the first time can turn out to be something Cage has already lived through on countless occasions. Over time, he figures out that, rather than try to warn his fellow soldiers that he has seen the future or fight his way off the beach, his best tactic will be to track down Rita before the battle begins. And sure enough, Rita not only immediately understands and believes what he's telling her, but also has a trusty scientist friend (Noah Taylor) on hand who can at least partly explain how Cage, at the precise moment of killing the Mimic, became locked in a cycle of eternal recurrence. It's at this point that the picture really spreads its wings, slowly illuminating the nutty rules that govern its futuristic universe, while also allowing Cage and Rita to break free of each day's restrictive pattern in search of a stealthier, more effective plan of attack.

If "Groundhog Day" is an obvious influence, then those "Choose Your Own Adventure" novels are another (amusingly, whenever Rita feels they've taken a wrong or unproductive turn, she simply whips out her gun and resets the clock). Perhaps predictably, this is also the point at which "Edge of Tomorrow" blossoms into a love story of sorts, and if this development feels a bit perfunctory and emotionally undercooked, especially in the way it too easily softens Rita's tough-girl edges, Liman handles it with a pleasing lightness of touch that extends to the proceedings as a whole. The final twists are likely to throw a few viewers for a temporal loop, but by that point, the film has more than earned their goodwill.

Following his creditable if unremarkable work in "Jack Reacher" and "Oblivion," Cruise is in particularly appealing form here, in no small part because the role is one he can ease himself into, without pushing his undeniable charisma and physical prowess too aggressively. Although he's initially slick and confident, qualities the actor could embody in his sleep (and probably does), Cage is soon revealed as a hopeless, ineffectual soldier trying to stay alive, and Cruise embodies this struggle with a refreshing lack of vanity that makes his eventual awesomeness — the product of endless drilling supervised by a merciless Rita — feel genuinely earned, rather than a foregone conclusion. (There's hate-viewing crossover potential here, too: Cruise's non-fans could do worse than see a movie in which he basically dies 500 times, and when he's not, he's getting his ass handed to him by spiky combat-training attack dummies.)

Blunt is alert, energized and emotionally present in a none-too-taxing role; while a bit more action for Rita would not have gone awry, the pleasure of "Edge of Tomorrow" is that it's not an action movie first and foremost, but rather a cheeky little puzzle picture in expensive-looking blockbuster drag. The excellent production package is distinguished by the expertly designed Mimics, which resemble overgrown, radioactive crustaceans that got caught in an oil spill, as well as by the anamorphic 35mm work of d.p. Dion Beebe, who shot Cruise so memorably in "Collateral," and who delivers a succession of stable, balanced yet dynamic images on a color palette of metallic blues, grays and browns. The picture will be released in 3D, but looked fine in the 2D version screened for review.

Odlično. Nisam se nadao da će ovo valjati, mada sam zbog egzoskeleta i Emili Blant odlučio da gledam. Drago mi je ako je japanski predložak istretiran sa razumevanjem. 

Inače, Edwards je Godzillom odradio posao za sebe:


New 'Star Wars' film coming December 2016 from the director of 'Godzilla'

Quote
With newly-minted blockbuster Godzilla under his belt, director Gareth Edwards will helm the first of several standalone Star Wars films coming in the years ahead. Disney and Lucasfilm have announced that the film will be released on December 16th, 2016, a year after J.J. Abrams' Star Wars: Episode VII hits theaters. The subject of the new movie hasn't been formally announced, though Disney has previously stated that the standalone films will be origin stories, with everyone from Yoda, Boba Fett, to Han Solo thrown around as possible candidates. Gary Whitta (After Earth, Book of Eli) will be writing the first film.

Edwards' appointment comes on the heels of huge success with Godzilla, which opened last week. It earned $38.5 million on its first day, and went on to earn $93.1 million in domestic box office for the weekend. Both the ticket sales and largely favorable critical reception led to an immediate call for a sequel, according to a report from Deadline. Edwards' previous feature directorial project was the indie feature Monsters, in which he served as director, cinematographer, and visual effects artist all on his own.

It's been a busy series of weeks for Star Wars. Late last month the cast of Episode VII was announced, bringing confirmation that Mark Hamill, Harrison Ford, and Carrie Fisher would be returning to their iconic roles more than 30 years after Return of the Jedi. Gareth Edwards' involvement in the franchise was first reported by The Hollywood Reporter.

When we spoke with Edwards at SXSW, he struck us as a thoughtful filmmaker who was interested in more than just the empty spectacle that so many blockbusters thrive upon. Disney has seemed to demonstrate a keen awareness of the Star Wars fatigue many fans felt in the wake of the prequel films, and while the notion of annual standalone films is itself a reason for some concern, putting directors like Edwards behind the camera will go a long way towards ensuring the films are more than just a series of empty cash grabs.

Stari ispisuje svoj politički testament, podstaknut poplavama, i suptilno kaže narodu da Dobrica ima naslednika...

http://starikadar.blogspot.com/2014/05/svi-srbi-u-jednoj-poplavi.html

Čovek pokazuje da ipak nije idiot...

In a surprise announcement, Edgar Wright has left Marvel Studios' "Ant-Man" as its director, the company said Friday.

Marvel is zeroing in on a new filmmaker, but is not yet in negotiations with one yet, Variety can confirm. When announcing Wright's departure, Marvel said "a new director will be announced shortly."

Hollywood and Marvel's fan community will be scratching its head for awhile over this one, considering Wright has been attached to "Ant-Man" since 2006 — before the first "Iron Man" film — as a screenwriter. He has regularly gone to San Diego Comic-Con to give updates on the project's development, and even showed test footage in 2012 of his approach to bringing the size-shifting character to the bigscreen.

Marvel and Wright parted ways "due to differences  in their vision of the film," the company and director said in a statement.

The decision to move on is amicable, they added, and does not impact the release date of July 17, 2015. The film had originally been dated for Nov. 6, 2015.

Paul Rudd, Michael Douglas and Evangeline Lilly star in the film, with Corey Stoll, Michael Pena and Patrick Wilson.

SEE ALSO: 'Godzilla's' Gareth Edwards to Direct 'Star Wars' Spinoff

In addition to helming, Wright also co-wrote the script with Joe Cornish ("Attack the Block"). Wright most recently directed the comedy "The World's End," and "Scott Pilgrim vs. the World," "Hot Fuzz" and "Shaun of the Dead" before that.

Cornish could conceivably take over the project, given his close involvement with it over the years.

He had been considered for "Star Trek 3″ but opted for Universal's spy thriller "Section 6," set to star Jack O'Connell, instead. Film revolves around the formation of British intelligence agency MI6.

Marvel is developing "Ant-Man" as a potential new franchise as part of its third phase of films, the way it hopes to introduce the characters in "Guardians of the Galaxy" in August to hopefully appear in multiple movies.

In the comicbooks, Ant-Man is the alter-ego of biochemist Hank Pym, who uses subatomic particles to create a size-altering formula and when tests go awry, realizes he can also communicate with and control insects. The character eventually pairs up with the Avengers.

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MAY 23, 2014 | 07:15AM PT
Contrasting styles between stars of two different generations make Cannes competition title a rich study of actorly insecurity

   
Peter Debruge
Chief International Film Critic
@AskDebruge
French director Olivier Assayas likes his leading ladies unpredictable and punk, crafting wild pipe-bomb thrillers to suit the feral energy of muses such as Maggie Cheung ("Irma Vep"), Chloe Sevigny ("Demonlover") and Asia Argento ("Boarding Gate"). But does he really understand women? After collaborating with Assayas on 2008's perfect, albeit ultra-safe "Summer Hours," actress Juliette Binoche challenged the director to write a part that delved into genuine female experience. Though deceptively casual on its surface, "Clouds of Sils Maria" marks his daring rejoinder, a multi-layered, femme-driven meta-fiction that pushes all involved — including next-gen starlets Kristen Stewart and Chloe Grace Moretz — to new heights.

SEE MORE: Cannes Film Festival

Binoche plays Maria Enders, a 40-ish movie star approached about remaking "Maloja Snake," the film that launched her career two decades earlier. This time, she's being asked to interpret the older role — a burnt-out, middle-aged businesswoman manipulated by her young female assistant in a daring lesbian dynamic. Maria has always identified with the other character, the one she played at age 20, whereas the role of the has-been is haunted by her previous co-star, who died in a car accident a year after they shot the movie.

All performers are superstitious to some degree, which supports those who choose to read "Sils Maria" as a ghost story of sorts. Certainly, its principal theme is the passage of time, which seems to affect actors more intensely than anyone else on earth — especially female ones, who are typically put out to pasture early.  Nearly 30 years ago, Assayas co-wrote Binoche's first starring role in Andre Techine's "Rendez-Vous," and now, just as Marie feels threatened trading places with a hot young up-and-comer, Binoche has been asked to star opposite an actress far more consistent with Assayas' "type."

As the film opens, Maria is traveling with her assistant Val (Stewart) to accept an award on behalf of her close friend and mentor, playwright Wilhelm Melchior (a provocateur loosely inspired by Rainer Werner Fassbinder, whose "The Bitter Tears of Petra von Kant" echoes below the surface here). En route, while dealing with the particulars of her in-progress divorce, Marie receives word that Melchior has died, dredging up an unpleasant figure from her past, an old co-star named Henryk Wald (Hanns Zischler) whose stage-hoggy desperation provides a horrifying glimpse into where her own career could be headed.

For this and her myriad other insecurities, Marie has Val, the hyper-reliable young woman who serves as her minder, mother, therapist and rehearsal partner. It is Val who talks her nervous boss into doing the "Maloja Snake" revival, dragging Marie to a studio-produced superhero movie just to see Jo-Ann Ellis, the edgy young actress (Moretz) tapped to play the other part.

Running lines from the play, Marie and Val may as well be describing their own sexually charged codependency, so perversely does the dialogue fit the pair's own increasingly unhealthy dynamic. At times, Val excuses herself to visit a photographer boyfriend (although a weird mountain-driving montage suggests she may simply need to get away when the connection becomes too intense), until finally, Val seems to disappear altogether, just one of the many mysteries woven into this rich and tantalizingly open-ended psychological study.

SEE ALSO: Kristen Stewart in 'Clouds of Sils Maria' Trailer

Moretz is fine, scoring laughs in a series of paparazzi-documented public outbursts, but not nearly as exciting in the fake "X-Men"-style movie-within-the-movie as Val believes. Ultimately, Stewart is the one who actually embodies what Binoche's character most fears, countering the older actress' more studied technique with the same spontaneous, agitated energy that makes her the most compellingly watchable American actress of her generation. Heightening the effect still further, Assayas uses the inescapable "baggage" of Stewart's offscreen persona — from broken-marriage tabloid drama to a tossed-off eye-roll over the ridiculous rise in werewolf projects post-"Twilight" — to slyly alter the movie's pH.

By sheer coincidence, "Sils Maria" premiered at the Cannes Film Festival in the same competition lineup as toxic Hollywood satire "Maps to the Stars." Assayas' bespoke homage to the art of acting feels like the antidote to David Cronenberg's toxic takedown, which skewers Hollywood hangers-on and their screwed-up priorities. Though keenly satiric in its own right, "Sils Maria" loves actors and seeks to appreciate the strange alchemy they weave.

Having begun his career as a film critic, Assayas spent years judging performances in strictly technical terms. Actors don't see their work like that, relying on intuition and emotional identification to connect with their characters in the most honest way possible. Moviegoers relate on yet another, more impressionistic level, affected by their mood, what they had for breakfast that morning and whatever personal experience they bring to the table. As the film acknowledges, "The text is like an object. It's gonna change perspective based on where you're standing."

Given the amount of subjectivity involved, acting is by far the hardest aspect of filmmaking to evaluate. It's easy enough to object when the work feels false, but so much of the process remains a mystery, and in trying to unlock its secrets, "Sils Maria" reaches for the stratosphere — which incidentally, is where most of the film takes place, high in the Swiss Alps, above the clouds. From this celestial vantage, Maria and Val are free to observe the real "Maloja Snake," a seething meteorological formation that sends clouds winding serpent-like through a valley lined by mountains on either side.

In addition to documenting this spectacle afresh, Assayas unearths an old 1924 silent movie by German director Arnold Fanck, the sort of relic that makes one grateful someone thought to capture this mesmerizing phenomenon on film. Binoche leaves audiences with the same exhilarating feeling here — of having witnessed something precious and rare — answering the challenge of Assayas' script by revealing a character incredibly closer to her soul.

Cannes Film Review: 'Clouds of Sils Maria'
Reviewed at Cannes Film Festival, (competing), May 23, 2014. Runnign time: 123 MIN.
Production
(France) A Les Films du Losange (in France), Sundance Selects (in U.S.) release of a CG Cinema presentation of a CG Cinema, Pallas Film, CAB Prods., Vortex Sutra, Arte France Cinema, ZDF/Arte, Orange Studio, RTS Radio Television Suisse, SRG SSR, in assocaition with Ezekiel Film Prod., with the support of Eurimages, with the participation of CNC, Arte France, ZDF/Arte GEIE, Canal Plus, Cine Plus, with the support of MDM, DFFF, Medienboard Berlin-Brandenburg, FFA, Office Federal de la Culture, BLS, Alto Adige. (International sales: MK2, Paris.) Produced by Charles Gillibert. Executive producer, Sylvie Barthet. Co-producers, Karl Baumgartner, Thanassis Karathanos, Jean-Louis Porchet, Gerard Ruet. 
Crew
Directed, written by Olivier Assayas. Camera (color, widescreen), Yorick Le Saux; editor, Marion Monnier; production designer, Francois Renaud Labarthe; sound (Dolby SRD), Daniel Sobrino; associate producer, Antoun Sehnaoui; assistant director, Dominique Delany; casting, Antoinette Boulat, Anja Dihrberg.
With
Juliette Binoche, Kristen Stewart, Chloe Grace Moretz, Lars Eidinger, Johnny Flynn, Angela Winkler, Hanss Zischler, Aljoscha Stadelmann, Luise Berndt, Gilles Tschudi, Benoit Peverelli, Brady Corbet, Claire Tran, Stuart Manashil, Peter Farkas, Nora Von Waldstatten, Ricardia Bramley, Caroline De Maigret, Arnold Giamara, Ben Posener, Sean McDonagh. (English, German dialogue)

Mehmete, korporacija najvećeg negativca iz stripova i filmova o Supermenu je nastala po modelu Jugoremedije posle problema sa zlonamernim vlasnikom!

Izvor: 21. epizoda 1. sezone serije SMALLVILLE.

"Lex waits on the helipad for Lionel to land. Lionel says he came to give a speech to the workers. Instead, he informs the employees that the plant is closing due to management failures. Lex confronts his father, accusing him of closing the plant because Lex won't come back to Metropolis.

Lex gathers a group of LuthorCorp employees together to lay out his plan. He wants them to join him in an employee-led buyout of the plant. He can come up with 90% of the capital if they can help with the rest.

Lex tells his father that he is forcing the board to vote on accepting the employee buyout of the plant. Lionel hands him a contract for his purchase of the Smallville Savings and Loan and announces that if Lex pursues this course then he intends to foreclose on the employees' mortgages if they make one late payment."

U sklopu sistematične obrade DC univerzuma načeo sam seriju SMALLVILLE, ostvarenje sa kojima se davnih dana sporadično sretao, rekao bih pre sudarao. I moram priznati da mi je prva sezona iz danas već davne 2001. godine izuzetno prijala. Kad kažem davne, onda to ne posmatram samo iz vizure protoka vremena i trianest godina koje su prošle već i iz vizure razvoja televizije ali i razvoja odnosa prema superherojskoj intelektualnoj svojini.

Paradoksalo, SMALLVILLE je serija iz vremena kada razlika između pay cable i basic cable serija nije bila toliko osetna. Danas je ta razlika veća - pay cable je napredovao, basic cable je nazadovao. SMALLVILLE je tako basic cable serija koja bi danas teško moglanastati i postići uspeh, odnosno imala bi sličnu sudbinu kao FRIDAY NIGHT LIGHTS sa kojom inače ima niz sličnosti u postavci likova.

Kad je reč o prvoj sezoni, Millar i Gough se bave Supermenom kad je bio mladi Clark Kent, i u principu dotiču se nekih bitnih tačaka DC univerzuma ali bez fah-idiotskog potonuća i isticanje mitologije nauštrb pripovedanja, uz ironično insistiranje da pre ove serije nisu čitali strip, u šta ipak sumnjam.

Koliko god se SMALLVILLE ne opterećuje strip-izvornikom toliko on zapravo dobro zarobljava esenciju stripa - pitanje sakrivanja identiteta, neuklapanja, dominacije sakrivene iza krinke inferiornosti, herojstva i sapunice. Rečju, SMALLVILLE sublimira esenciju stripa iako u velikom delu barata likovima izmišljenim isključivo za potrebe serije.

Preokretanje te paradigme imamo u seriji AROW koja je pošla istim putem ali u drugoj epohi - u prvoj sezoni, SMALLVILLE ima villain-of-the-week strukturu. ARROW to ponavlja u svojoj prvoj sezoni s tim što je tamo svaki negativac manje ili više proistekao iz DC univerzuma.

Prva sezona SMALLVILLEa se završava čudovišnim cliffhangerom (koji to nije utoliko što mi ipak znamo ko je ko i šta je šta u svetu Superboya) i videću šta u strukturalnom pogledu donosi druga sezona.

Kreativno-produkciona realizacija serija je vrhunska za svoje vreme. Deo ove ekipe je kasnije preuzeo HEROES u slavnim danima. Tehnika je napredovala ali ARROW (verovatno i zbog svog statusa u DC panteonu) nije dobio ovaj nivo realizacije, a što je još važnije nije dobio ovaj nivo kreativne "samouverenosti". SMALLVILLE nastaje sa jasnim iskustvim SOPRANOSa, jasno je da se serija najbolje može temeljiti na porodici i dopušteno je tim odnosima da se razvijaju. U ARROWu, porodica ima bitnu ulogu ali intenzitet odnosa u njoj ima dinamiku manje ambiciozne sapunice od ovoga.

SMALLVILLE takođe ima i onaj adut koji serijama omogućuje da idu deset sezona a to je upečatljiva i harizmatična podela.

Dakle, u slučaju SMALLVILLE mnogi elemnti su se sklopili - pa ni ne čudi da se ova serija danas posmatra kao jedan od Supermanovih kontinuiteta.

Ja sam se, ampak, upravo vratio sa projekcije X-Men i ostavio Džindžera i Kunca u dobrim rukama, mislim, jer je Singer napravio svakako svoj najbolji X-men film a možda i najbolji X-men film do sada. Ovo priča čovek kome je Vaughnov First Class bio osetno bolji od Singerova prva dva filma po mnogim elementima i imam utisak da je i sam Singer ovde pozajmio dosta toga od Vaughnovog postupka. Film je, kao i First Class u velikoj meri period piece (90% radnje događa se u 1973. godini) a tenzija i balans između Magnetovog separatizma i Xavierovog integracionizma su ovde održavani razumnim sredstvima. Naravno, ovo je i dalje superherojski film pa su svi dramski elementi operetski preterani ali se oseća taj neki balast druge polovine dvadesetog veka, kada je post-WWII adrenalin istrošen, a Koreja, Zaliv Svinja, Vijetnam i nuklearno oružje proizvode atmosferu perpetualne pretnje ekstinkcijom. U takvom okruženju pojava Bolivara Traska koji ne samo da objašnjava zašto su mutanti ultimativna pretnja čovečanstvu (prepisano iz Morrisonovog New X-Men, naravno) već i nudi koliko-toliko plauzibilno oruđe protiv te pretnje ima smisla. Ideja da bi Nikson bio raspoložen da makar upriliči demonstraciju ovoga u javnosti je plauzibilna.

Film ipak pre svega nose likovi, i to ponovo MakAvoj koji glumi 130 na sat, kao i Lorensova, i njihov odnos je u centru. Fasbenderov Magneto je malo više pomeren u ikoničku stranu i time je izgubio na ljudskosti a zadobio na klišeu, ali uspeva da odradi svoj dramski zadatak. Avaj, Singer iz nekog razloga i u ovom filmu ne uspeva da iskoristi Wolverinea kako treba, što je već iritirajuće i mada Jackman odlično nosi svoju ulogu, ona je više uloga posmatrača i hroničara nego delajućeg agensa, što za Wolverinea nikako nije karakteristično.

No, opet, kao neko ko se pribojavao Singerovog povratka u režisersku stolicu posle Vaughnove ubedljive vožnje, odahnuo sam. Singer kao da se malo opustio, film ima solidan tempo koji naravno popusti prema kraju ali se da gledati, ima puno scena urađenih sa dosta stila i duha a akcione scene, kojih zapravo nema previše, su konačno malo promišljenije. Meni je u prva tri X-Men najviše i smetala relativno neubedljiva akcija, sa glumcima poput Jackmana i Berijeve koji su unaokolo mlatarali praveći se da znaju šta rade. Singer je konačno shvatio da dubleri imaju svoju svrhu i imamo nekoliko lepih akcionih scena, pogotovo onih u budućnosti gde Bishop, Blink, Warpath, Storm, Sunspot, Iceman i Wolverine pokazuju kako se bori TIM uvežbanih veterana superherojskih ratova. Naravno, najbolja scena u filmu je potpuni gimik, ali toliko neodoljiv da mislim da će se o njoj pričati dugo i da ćemo gledati jutjub spufove bar nekoliko nedelja. Neću da spojlujem ali ću reći samo da će Quicksilver u Avengers 2 morati MNOGO da se potrudi da dostigne ono što je pokazao u ovom filmu.

Filmu dakle mogu da zamerim mali pad u tempu (ni nalik onome što je umelo da zakolje stare X-Men filmove), nedovoljno iskorišćene neke od odličnih glumaca koje ima (pre svega Fassbender i Jackman), kao i to da su scene u budućnosti samo uokvirujući narativ za pravu priču a da u njima nema dovoljno dramskog dešavanja (mada ima dramatičnog) - što sam očekivao jer je u samom stripu i ono što se dešava u budućnosti važno, ali opet - razumem da bi onda film bio i duži i skuplji. Mogu da zamerim i besmislenu post-kredit sekvencu jer je kratka i beznačajna pošto se već mesecima zna da je sledeći X-Men film Age of Apocalypse. Ali mu moram pohvaliti jasno pripovedanje, pa makar premise i ne bile previše ubedljive, likove koji uspevaju da nas ubede u dramatičnu borbu što se vodi zaklonjena od očiju hroničara istorije i dobru akciju. Sve preporuke.

Quote from: crippled_avenger on 24-05-2014, 17:46:56

SMALLVILLE takođe ima i onaj adut koji serijama omogućuje da idu deset sezona a to je upečatljiva i harizmatična podela.

Da, meni je cast tokom svih deset sezona bio neverovatan, zaista. Cekaj samo da vidis Lois Lejn... ili Supergirl u kasnijim sezonama.

Quote from: Meho Krljic on 24-05-2014, 20:19:47
Sve preporuke.

Posto mi porodicno idemo da ispratimo ovaj film - sin je gledao sve ranije, ali cerka nije. Da li je dovoljno da gleda, recimo, prvi XMen i XMen: First Class, ili mora da gleda sve prethodne filmove da bi se snasla?

Mehmete, prati li Crveni krst ovaj egzodus iz Marvela?

Less than 24 hours after news broke that director Edgar Wright has left Marvel Studios' "Ant-Man" over creative differences, Drew Goddard has stepped down as showrunner of Marvel's new Netflix series "Daredevil."

TV PILOTS/DEVELOPMENT SCORECARD: Follow the action during upfront season

Goddard has handed the job over to fellow "Buffy the Vampire Slayer" writer Steven S. DeKnight.

In addition to serving as series showrunner and exec producer, Goddard was supposed to write and direct the first episode of "Daredevil," which is set to premiere on the streaming site next year. Filming will begin this summer in New York

Goddard will now serve as a consultant on the original drama, but focus most of his attention on writing and directing Sony's upcoming "Spider-Man" villain-focused spinoff "Sinister Six."

DeKnight was the showrunner of Starz's "Spartacus." He worked with Goddard on Joss Whedon's cult TV series "Buffy" and its spinoff "Angel." He also has experience in the superhero show genre as co-exec producer and writer on The CW's Superman drama "Smallville."

Aside from the 13-episode "Daredevil" series, the deal between Netflix and Marvel also includes three other original comic book adaptations: "Jessica Jones," "Iron Fist" and "Luke Cage."


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Quote from: milan on 24-05-2014, 23:09:34

Quote from: Meho Krljic on 24-05-2014, 20:19:47
Sve preporuke.

Posto mi porodicno idemo da ispratimo ovaj film - sin je gledao sve ranije, ali cerka nije. Da li je dovoljno da gleda, recimo, prvi XMen i XMen: First Class, ili mora da gleda sve prethodne filmove da bi se snasla?

Ne, ne, dovoljan je First Class. Mislim, neće baš skapirati ko  su Scott i Jean ali to je minoran detalj.

Stari pokušava da razmotri da li se otvara mogućnost za "čvrstu ruku" u medijima posle ove tragedije...

http://starikadar.blogspot.com/2014/05/lazni-zakon-trzista.html

Pakao na zemlji...

http://www.liveleak.com/view?i=4fd_1400921453

Pogledao sam NEIGHBORS Nicholasa Stollera, novi film verovatno nejstabilnijeg među učenicima Judda Apatowa. Stoller je uspeo da napravi solidnu u relativno konzistentnu karijeru kao reditelj i scenarista.

Na tom putu je kombinovao razne pristupe komediji i izgradio ime i kao pisac i kao reditelj, s tim što je nastavio da piše i za druge i da režira tuđe scenarije. NEIGHBORS je režirao po tuđem scenariju i reč je o ulasku na teritoriju kojom se ranije nije toliko kretao.

Ako bismo film artikulisali kroz konvencije, onda NEIGHBORS možemo definisati kao sukob junaka Judda Apatowa sa likovima Todda Phillipsa. Stoller je bez sumnje dorastao zadatku menadžementa ovog dvoboja između duhovitih bračnih drugova koji bi do pre koju godinu bili protagonisti KNOCKED UPa i klinaca koji kao da su izašli iz PROJECT Xa.

Iako Stoller nikada ne dostiže gotovo pa art house hipnotičnost i grandioznost PROJECT Xa, NEIGHBORS je prilično osmišljeno zapakovan paket, kako u scenarističkom tako i u rediteljskom smislu.

Naravno, Stollerovo srce je na strani Apatowa ali se on nije ogrešio ni o Todda ovom prilikom. Variety je otud skovao dobru definiciju humora u ovom filmu i njegovog opšteg duha kao "winningly stupid".

Glumačka podela koju prevode Seth Rogen i Rose Byrne nasuprot Zac Efrona i Dave Franca je sjajna i jedina zamerka je što Christopher Mintz-Plasse nije bolje iskorišćen a bio je prisutan.

No, ukupno uzev, NEIGHBORS je uspešan komični crossover koji nije obeščastio kult svog naslova u kome su onomad briljirali John Belushi i Dan Aykroyd u jednoj od svojih najopskurnijih saradnji.

* * * / * * * *

Koliko si skoro gledao stari Neighbors? Ja sam ga gledao pre recimo dvadesetosam godina, očekujući film koji će unovčiti sav kredit koji su Blues Brothers isposlovali na ovim prostorima, međutim sećam se da nam je svima taj film bio ozbiljno razočaranje. Sad pokušavam da bez gledanja utvrdim je li to zato što je humor bio manje fizičkog i geg tipa nego što smo očekivali ili naprosto film zapravo nije bio toliko smešan, shvatajući tragičnu stranu komedije situacije malo ozbiljnije nego što je bila norma u tim eigthies goofball filmovima. Mislim, jasno, Neighbors i nije bio goofball film ali su nam ga tako prodali ondašnji distributeri.

Pa gledao sam ga pre dvadeset godina i film je bio dementno dirty. Nije bilo gegova, ali bilo je neke ludačke atmosfere u njemu koju još uvek pamtim. Mislim da sam ga i potom reprizirao ali mi je teško da rekonstruišem kada...

Da, postojao je taj element demencije. Ja sam nerad da ga repriziram a opet me kopka da li bi mi se danas više dopao...

Marc Webb je uspeo ono što se dopalo Mehmetu u THE AMAZING SPIDER-MAN 2, zbilja je napravio film koji ima tu lepršavost strip-ekranizacije. Nažalost, ovaj film je na kraju ispao jedna prilična papazjanija kojoj nažalost nedostaje još malo promašenosti pa stekne kultni status kao FLASH GORDON. Marc Webb je skupio SJAJNU glumačku ekipu. Dane De Haan ima nešto što bi ga moglo učiniti novim DiCapriom, Andrew i Emma imaju sjajnu hemiju kao Peter i Gwen, nema potrebe da se objašnjava kolika je privilegija tj. luksuz imati Jamie Foxxa kao negativca. Ali to sve je deo jedne nabacane celine koja naprosto nema nikakvu dinamiku, a nema čak ni mehaniku. U filmu ima sjajnih scena, nažalost mahom dramskih, ima briljantnih detalja, ali celina je stilski nekonzistentna, ritmički potpuno rasturena, bez ikakve ideje kako se nositi sa akcionim scenama u okolnostima ovakve stilizacije. Slične probleme sam konstatovao i u prvom Webbovom filmu ali naprosto on do ovog filma nije napredovao i ovo je naprosto film u kome akcija igra važnu ulogu a apsolutno ništa ne valja i usporava, da ne kažem zaustavlja film. Međutim, i struktura cele priče je problematična, Osnovni sukobi su uvode nedopustivo kasno, film je EVIDENTNO pretrpeo teške intervencije u montaži što dovodi do toga da imamo preko dva sata frenertičnog tempa, valjda u pokušaju da se sve skrati kroz ubrzavanje.

Ne mogu da kažem da bih rado gledao tri sata ovoga, ali sam uveren da bi tročasovna verzija daleko bolje funkcionisala. Ovako Webb snima jedan haotičan artefakt, sa sjajnim sastojcima pre svega u glumačkoj podeli koji u pojedinim fazama uspevaju da čak pokažu KOLIKO su pravi izbor i na ekranu. Ipak, neke od najbolje glumljenih scena, kako Garfield-Stone tako i Garfield-De Haan nažalost po glumačkom stilu vuku u indie vode i odstupaju od opšte mejnstrim orijentacije ovog filma. To je karakterisalo i prvi film.

Rekao bih da je drugi deo šareniji od prvog pa samim tim možda i "bolji", ali pošto Webb nije naučio ništa iz svojih grešaka, ne mogu reći da me je ispunio bilo kakvim optimizmom. Mahom mi je bilo žao što ovako talentovani glumci traće godine svog života snimajući nešto što je do te mere obesmišljeno slabim rediteljskim konceptom.

* * / * * * *

NON-STOP Jaume Collet-Serre je nažalost neuspeo pokzušaj da ovaj reditelj u saradnji sa Joel Silverom ponovi uspeh UNKNOWNa, kao do sada najuvaženijeg TAKEN rip-offa. Posle slabog TAKEN 2, Neeson i sa NON-STOP pada daleko i za naslova kao što su EXPATRIATE ili 3 DAYS TO KILL. To je začuđujuće jer se Collet-Serra do sada pokazao kao jako talentovan reditelj. Međutim, NON-STOP je ne samo nezanimljiv na nivou scenarija već ima dosta oprevida i u pogledu režije.

Kad je reč o scenariju, za početak struktura je na nivou parodije. Imamo operetskog junaka sa sve Velikom Tajnom koja ga motiviše iako nema apsolutno nikakve bitne veze sa zapletom, zatim imamo "red herring" likove, imamo misteriju čiji ishod nikoga ne zanima jer smo došli da gledamo TAKEN u avionu i naprosto sada više nije Neesonovo "da misli". Ali, ako treba da misli onda bi to morala biti zanimljivija postavka od ove. Recimo, Schwendtke je to mnogo bolje uradio u FLIGHTPLANu, doduše držeći se Hitchcockovog recepta.

Dakle, ovo je triler koji nije preterano uzbuiljiv i bazira se na misteriji koja nikoga ne zanima i sa enigmatičnim likom čije se tajne nikoga ne tiču.

Međutim, paradoks je u tome što Collet-Serra uopšte nije dobro definisao prostor aviona. Avion je prostran kao manja sportska hala, prilično stabilan tokom većeg dela filma i junaci se kroz avion kreću stabilnije nego junaci Bongovog SNOWPIERCERa. U jednom trenutku, gledalac gotovo da zabpravi da se film dešava u avionu, a to nikako nije smelo da se desi.

Na kraju kada se "ulozi povećaju" i film pređe na teritoriju Silverove ranije produkcije EXECUTIVE DECISION što nema nikakve veze sa inicijalnom minimalističkom postavkom, jedino što preostaje kao adut jeste relativno inventivna motivacija negativaca, koja donekle opravdava njihov vrlo detaljan i po mnogo čemu redundantan plan.

* 1/2 / * * * *

Wright's quirky superhero pic made the studio's Kevin Feige nervous as a dispute over script changes and key crew exits leave a 2015 release date in question.

This story first appeared in the June 6 issue of The Hollywood Reporter magazine.
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After the  abrupt May 23 exit of Edgar Wright, the geek-favorite filmmaker behind Shaun of the Dead and Hot Fuzz, from Marvel Studios' long-gestating Ant-Man movie, the studio has insisted the Paul Rudd film will be finished in time to make its July 17, 2015, release date.
But while a source close to the studio says a search for a new director is underway, some observers believe Marvel president Kevin Feige will have a hard time pulling together the risky film in such a short time frame.
The challenges are clear in finding a director who can pick up a project infused with Wright's vision for years. In addition, sources say the film's key crew -- its heads of departments -- departed when it became clear production would not begin as scheduled July 28. Rudd's reps say he's still in, and a source close to the production says all key crew positions will be filled shortly.
PHOTOS: 'X-Men's' Ellen Page: Her Career in Pictures
Wright, 40, is an irreverent British filmmaker, and sources say Marvel had been unhappy with his take on Ant-Man for weeks. Originally set to begin shooting June 2, the production had been put on hiatus while Feige ordered revisions of the script that was co-written by Wright and Joe Cornish. According to sources, Wright had been willing to make revisions earlier in the process. But the new rewrites took place without Wright's input, and when he received Marvel's new version early during the week of May 19, he walked, prompting a joint statement announcing his exit "due to differences in their visions of the film."
The move came as a shock because Wright had been working on the project -- about a scientist who can shrink to the size of an ant -- since 2006. Feige told MTV in 2013 that Wright's vision "is the only reason we're making the movie." But Marvel and Wright were different entities when they began their relationship. Marvel was an upstart, independent and feisty as it began building the Marvel Studios brand with the first two Iron Man films and Captain America: The First Avenger.
Now owned by Disney, Marvel has established itself as a reliable maker of hits. Feige essentially is the showrunner on $150 million episodes in a Marvel universe that expands in phases. The company "Marvel-izes" its projects, as a source with ties to the company puts it. That sometimes leads to clashes with filmmakers who have strong points of view, as Kenneth Branagh found during the making of Thor. He did not return for the sequel, nor did Joe Johnston for Captain America. Patty Jenkins, who directed the 2003 Charlize Theron hit Monster, was hired for Thor 2 then fired. Edward Norton clashed with Marvel during post on The Incredible Hulk and was replaced by Mark Ruffalo for the character's return in The Avengers. Terrence Howard similarly was replaced by Don Cheadle in the Iron Man sequels. And on May 24, Drew Goddard was replaced as showrunner by Steven S. DeKnight on Marvel's upcoming Netflix series Daredevil (though Goddard is working on Sony's Marvel movie Sinister Six).
STORY: Disney Moves Marvel's 'Ant-Man' Release Date
"Kevin Feige [and his top lieutenants] run Marvel with a singularity of vision, but when you take a true auteur and throw him into the mix, this is what you get," says a source. "They don't want you to speak up too much or have too much vision. People who have never worked there don't understand how they operate, but if you trust them, they have an amazing track record."
Ant-Man's tone might have been too quirky for the Marvel universe. Insiders say Marvel feels it already might have gone outside its comfort zone with August's Guardians of the Galaxy, a space adventure heavy on odd humor and featuring a talking raccoon. In 2011, Sony's similarly comic The Green Hornet with Seth Rogen failed to launch the franchise for which the studio hoped.
Wright declined comment, but he tweeted, then deleted, the word "selfie," followed by a sad-faced Buster Keaton holding a Cornetto ice cream cone (Wright's trio of genre movies is known as the Cornetto trilogy). Keaton famously lost his independence after his ambitious 1926 film The General didn't perform well. He took a job at MGM, which he later called the worst decision of his life. Avengers director Joss Whedon also tweeted a photo of himself appearing dejected and seeming to salute Wright with a Cornetto.
Wright's first studio experience also was fraught. He directed 2010's acclaimed Scott Pilgrim vs. the World, which bombed for Universal, grossing $31.5 million domestically. Now his second studio film has been taken away. James Gunn, director of Guardians, might have said it best. He wrote on Facebook that Wright and Marvel "just don't have personalities that mesh in a comfortable way."

Pogledao sam SUNSHINE CLEANING Christine Jeffs, zanimljivu indie dramediju o dve sestre koje odlučuju da reše svoju tešku finansijsku situaciju time što će početi da rade kao čistačice na mestu zločina. Činjenica da sestre igraju Amy Adams i Emily Blunt daje filmu zvezdani napon i one apsolutno uspevaju da dobace do onog kvaliteta koji mu pruža i mogućnost za crossover.  Doduše, junaci ove dramedije su ipak mnogo pesimističniji od onih u LITTLE MISS SUNSHINE, iako se oba filma kreću sličnim prostorom.

Christine Jeffs je iznad svega efikasna u pripovedanju, nema viškova, nema preteranih ukrasa, i SUNSHINE CLEANING u tom pogledu ima utegnutost mainstream rada. Fino je predstavljena i očekivano gadna dimenzija čišćenja mesta zločina, bez puno neukusnog humora, sa dobrodošlim realizmom u izboru ambijenata na kojima su se zločini odigrali.

Osnovni indie element u ovom dobro skrojenom paketu jeste zapravo svojevrsna nerazrešđenost odnosa među junacima, odnosno njihova nesposobnost da se dokopaju hepienda koji bi u mainstream filmu sigurno izborili. Drugi element je svakako smeštanje priče u američku provinciju.

SUNSHINE CLEANING je solidan i pitak indie film koji može da bude interesantan i gledaocima koje američki nezavisni film previše ne zanima. Iako mu je izmakao ogroman uspeh LITTLE MISS SUNSHINE, ovaj film ni po čemu nije slabiji od njega.

* * * / * * * *

For a while it has been known that John Wesley Shipp would be playing a recurring role in the upcoming new "The Flash" series on The CW.

Now, the details of his role have been revealed - Shipp will be playing the father of Barry Allen (Grant Gustin) in the "Arrow" spinoff. Shipp is first seen in the premiere episode and will recur throughout the show's run.

The casting is spot on considering Shipp played Barry Allen/The Flash in the short-lived 1990s TV series based on the DC Comics title. Executive producer Greg Berlanti tells The Live Feed:

"Given his history with The Flash, Andrew [Kreisberg], Geoff [Johns] and I could only think of one person we wanted to play Barry's father and that was John Wesley Shipp. He gives a fantastic and emotional performance in the pilot, and we are looking forward to his presence in many more episodes."

Berlanti previously worked with Shipp on "Dawson's Creek". This isn't the first CW series to pull of this style casting. Teri Hatcher filmed a cameo as Ella Lane, mother of Erica Durance's Lois Lane, in an episode of the final season of the now finished "Smallville".

Pa to je do jaja!!!!!!!!!!!!! Oficijelno sam hajpd.

X-MEN: GAYS OF FUTURE PAST je jedna havarija.

Quote from: crippled_avenger on 28-05-2014, 18:10:54
Pogledao sam SUNSHINE CLEANING Christine Jeffs, zanimljivu indie dramediju o dve sestre koje odlučuju da reše svoju tešku finansijsku situaciju time što će početi da rade kao čistačice na mestu zločina. Činjenica da sestre igraju Amy Adams i Emily Blunt daje filmu zvezdani napon i one apsolutno uspevaju da dobace do onog kvaliteta koji mu pruža i mogućnost za crossover.  Doduše, junaci ove dramedije su ipak mnogo pesimističniji od onih u LITTLE MISS SUNSHINE, iako se oba filma kreću sličnim prostorom.

Christine Jeffs je iznad svega efikasna u pripovedanju, nema viškova, nema preteranih ukrasa, i SUNSHINE CLEANING u tom pogledu ima utegnutost mainstream rada. Fino je predstavljena i očekivano gadna dimenzija čišćenja mesta zločina, bez puno neukusnog humora, sa dobrodošlim realizmom u izboru ambijenata na kojima su se zločini odigrali.

Osnovni indie element u ovom dobro skrojenom paketu jeste zapravo svojevrsna nerazrešđenost odnosa među junacima, odnosno njihova nesposobnost da se dokopaju hepienda koji bi u mainstream filmu sigurno izborili. Drugi element je svakako smeštanje priče u američku provinciju.

SUNSHINE CLEANING je solidan i pitak indie film koji može da bude interesantan i gledaocima koje američki nezavisni film previše ne zanima. Iako mu je izmakao ogroman uspeh LITTLE MISS SUNSHINE, ovaj film ni po čemu nije slabiji od njega.

* * * / * * * *

Quote from: Will-O'-The-Wisp on 29-05-2014, 18:57:47
X-MEN: GAYS OF FUTURE PAST je jedna havarija.

Kritika or it didn't happen!!!!!!!!!!!!

Ja sam danas išao da gledam EDGE OF TOMORROW. Pre početka filma mi je jako pozlilo. Sada se rekuperiram i nadam se da ću sutra biti spreman. Ovaj peh je još više povećao moje iščekivanje.

Inače u ovom futurističkom akcijašu na mapi Evrope, Kosovo je deo Srbije.

Pogledao sam THE SACRAMENT Ti Westa. Moram priznati da mi je, od onoga što sam gledao, ovo daleko najbolji Ti Westov film, premda nisam gledao sve a on je prilično aktivan. Ipak, rekao bih da mu je ovo jedno od ambicioznijih dela.

THE SACRAMENT deo svoje efektnosti crpi iz aure indie filma koja mu nekako daje pravo da meša babe i žabe ali i da se opusti u deonicama koje zapravo deluju najefektnije. Isto tako, ja ovaj film ne bih definisao kao horor, pošto on to nije suštinski a formalno takođe nije premda se služi određenim TEHNIKAMA koje su danas svojstvene  hororu ali ih to ipak ne dovodi do nivoa žanrovskog određenja.

U svakom slučaju, onaj ko bude gledao očekujući horor biće ili jako razočaran ili će dobiti nešto drugo u čemu može da uživa.

THE SACRAMENT je mockumentary sa elementima found footage filma, premda  u filmu itekako ima i scena za koje ne možemo baš reći ko ih je snimao, ali to na kraju krajeva nije ni važno jer ovoga puta Ti West nekako ne poziva gledaoca da ga lovi u greškama.

Priča prati ekipu Vice kanala koja odlučuje da poseti Eden Parish, savremeni Jonestown u srcu Amerike, tamo zatiče harizmatskog vođu koji ih ne pridobije ali im se učini kao neko ko bi mogao imati umirujuće dejstvo na ljude i onda postepeno izazivaju nemir među njegovim sledbenicima što neizbežno rezultira novim Jonestownom.

Mislim da nisam puno spoilovao ovim prepričavanjem jer jesam rekao o čemu govori CEO film, ali Ti West je uspeo da napravi efektnu celinu u kojoj nisu presudna iznenađenja u priči već hipnotičko stanje u kome on uspeva da nas ubedi kako je zapravo moguće počiniti tako nešto.

Ti West nikada ne omogućuje da se identifikujemo sa bilo kim, naročito ne sa guruom ili sledbenicima, ali kroz vibrantan izbor glumaca i statista uspeva da izgradi ubedljiv odnos i da nam predoči ko je ta ekipa tamo i zašto/ kako će ona završiti tako kako će završiti.

Na kraju, iako found footage/ mockumentary pristup ne smeta, ipak to ostaje kao možda suvišan gimmick ovog filma. Nije bilo potrebno uvoditi takvo rešenje da bismo videli rešenje kako stranci mogu da poremete zatvorenu zajednicu koja se izopačila.

Vizuelna faktura je vrlo zanimljiva, Ti West uživa u prizorima prirode i društva i uspeva da stvori jako dobru atmosferu usiljene religiozne pastoralne idile.

U određenom smislu, Ti West mi je zaličio na Mladena Đorđevića u tom preplitanju realizma i žanra, s tim što je Mladen manifestniji, energičniji, probojniji a West je najbolji onda kada je smiren.

Eli Roth je kao pokrovitelj ovog filma takođe napravio dobrodošao iskorak i na ovom filmu može da kaže kako je proizveo nešto što po sebi nije delo enfant teriblea savremenog horora, već prililčno zreo indie film.

Joe Swanberg, hiperaktivna figura američkog nezavisnog filma koja sve više voli da se petlja u horor, takođe svojim radom u ovom filmu daje jedan od boljih ličnih doprinosa u poslednje vreme.

Ti West je ljubitelj slow burninga, međutim, ovaj film nije ni slow, a nije burning, što znači da je do sada grešio i da je ovo put kojim bi trebalo da nastavi.

* * * / * * * *

Quote from: Meho Krljic on 29-05-2014, 20:15:23

Quote from: Will-O'-The-Wisp on 29-05-2014, 18:57:47
X-MEN: GAYS OF FUTURE PAST je jedna havarija.

Kritika or it didn't happen!!!!!!!!!!!!

Kritika? Baš jedan loš film. There you go.

Stari objašnjava zašto za vlast nad Srbima nije potrebna podrška stranaca i dvotrećinska većina. Dovoljni su oni sami

http://starikadar.blogspot.com/2014/05/puter-na-glavi.html

Quote from: Will-O'-The-Wisp on 30-05-2014, 13:00:12

Quote from: Meho Krljic on 29-05-2014, 20:15:23

Quote from: Will-O'-The-Wisp on 29-05-2014, 18:57:47
X-MEN: GAYS OF FUTURE PAST je jedna havarija.

Kritika or it didn't happen!!!!!!!!!!!!

Kritika? Baš jedan loš film. There you go.

Ali logika onda kaže: ako je očigledno najbolji X-Men film jedan "baš loš film" onda je cela franšiza nikakva!!!!! A to očigledno nije tako!!!! First Class je bio odličan film!

FIRST CLASS je filmčina i po! DOFP je drek. Čim JA tako kažem, onda mora biti tako.

To je odličan argument, ali se lomi o hridinu činjenice da se meni XMDOFP veoma dopao.

No, hajde da probamo postepeno:

Ima li XMDOFP relativno dobro vođenu priču o putu kroz vreme? Ima. Ima li nekoliko kvalitetnih akcionih scena? Ima. Ima li kakvu-takvu ideološku raspravu u srži, a koja se prevashodno vodi na starostavnoj mutantskoj dilemi odlučivanja između integracionizma i separatizma (pa makar i kroz masovno ubistvo)? Ima. Glumci su dobri, slikano je bolje nego prethodni filmovi i ima onu scenu. Ergo - solidan film!

Meho, na sva pitanja koja si postavio, odgovor je: nema.

Neistina! Čak, slobodno možemo reći, tendenciozna kleveta!!!!!!!!!! Mislim, Quicksilver? Ni to da ti se ne dopadne? Nemoguće! Dakle, tvoje sistematsko odbijanje da priznaš išta dobro ovom filmu mora biti simptom nekog dubljeg problema... Hmmmm... Da vidimo... Smeta ti što Kitty Pryde ima moć da šalje svest svojih prijatelja u prošlost iako je to blatantno kršenje kanona? Smeta ti što Sentineli napuštaju karakterističan dizajn iz stripa i dobijaju ultronovske karakteristike u budućnosti? Nervira te idiotski plot device koji se tiče seruma što leči prekinutu kičmenu moždinu ali oduzima telepatske moći? Reci, gukni, šta je od svega toga?

Wille, raspali to malo, ne izigravaj Koreanca iz Snowpiercera sa onelinerima

vidiš da si uznemirio Krljića

Ništa od navedenog, Meho.

Uznemirenje traje. 

Evo zagrljaja. Better?

Ili hoćeš o tome uživo da raspravimo u Bijogradu?