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James Wan to Direct 'Aquaman' for Warner Bros.

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JUNE 3, 2015 | 01:48PM PT
Justin Kroll
Film Reporter
@krolljvar
James Wan is set to direct "Aquaman" for Warner Bros.

The superhero film stars Jason Momoa with Charles Roven, Deborah Snyder and Zack Snyder producing. Wan will also be supervising the script, to be written by Kurt Johnstad.

Warner Bros. also released the first plot summary for the film, which follows Aquaman, the King of the Seven Seas and the reluctant ruler of Atlantis, who is caught between a surface world constantly ravaging the sea and Atlanteans looking to lash out in revolt, but is committed to protecting the entire globe.

Currently set for a 2018 release, the film is based on characters appearing in comic books published by DC Entertainment.

"We've been so lucky to have worked with James, first on New Line's 'The Conjuring' and now on their upcoming 'The Conjuring 2,' and are thrilled to have him on board as we continue to expand our DC slate," said Greg Silverman, President, Creative Development and Worldwide Production for Warner Bros. Pictures. "The Aquaman film will be a major tentpole picture for us and James's span of work has proven him able to take on any manner of project, bringing his incredible creative talent and unique voice to the material."

Wan had been rumored to be in talks for the picture but with the deal in place, "Aquaman" will likely be his next film following the "Conjuring" sequel. Wan had also been circling an adaptation of "Robotech" at Sony, which may follow the superhero standalone on his schedule.

Wan most recently helmed "Furious 7," which has already grossed more than $1.5 billion at the worldwide box office. Wan's hire is the latest development for WB's burgeoning superhero franchise centered around members of the Justice League, following news that Chris Pine is close to a deal to co-star with Gal Gadot in the upcoming "Wonder Woman" film, as Variety exclusively reported.




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nisu se baš pretrgli...


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IT FOLLOWS Davida Roberta Mitchella, posle dužeg vremena jeste istaknuti novi horor vredan umerene ažnje, iako sam gledajući ga u mnogo navrata razmišljao da li je ovo uopšte horor, i imao prilične padove koncentracije. Naravno, dileme u pogledu žanra i padovi koncentracije nisu direktno povezani, ali ilustruju jedan zajednički korpus problema ovog dela.

IT FOLLOWS je film koji se nalazi negde na ničijoj zemlji između indie filma i horora i u tom smislu zaslužuje pažnju jer predstavlja film koji na kraju cele priče ipak jeste žanrovski ali istovremeno želi da održi integritet likova i pokušava nešto da kaže.

Isto tako, IT FOLLOWS je uspeo da postigne izvanredan uspeh u bioskopima što znači da je uspeo da publiku ubedi u to da je horor i da sledstveno tome možemo očekivati još jači prodor indie estetike u mejnstrim žanra. Mumblegore imamo već godinama, indie glumce u hororu takođe, ali oni su se kroz radove aitora poput Ti Westa kretali marginama distribucije. IT FOLLOWS je uspeo se "poveže" sa mladom horor publikom i to je veliki korak.

Vratimo se integritetu likova i želji da se nešto kaže...

Nažalost, to što pokušava da kaže bilo moderno u hororu dosta davno, i to nije toliki problem, seksualnost sama po sebi nikada neće izaći iz mode kao podtekst ili čak glavna tema u ovom žanru. Međutim, film je smešten u sadašnje vreme a odaje utisak jednog prilično arhaičnog pogleda upravo na libidinalnu akonomiju svojih junaka. Otud i Mitchell svesno ovu savremenu priču pokušava da distancira od aktuelnog trenutka, recimo glavni junaci se voze isključivo kolima iz osamdesetih, žive u kućama bez modernih tehničkih pomagala i sl. ali ukupno uzev, ostatak sveta ipak živi u sadašnjosti.

Ako imamo u vidu senzibilitet savremenog sveta, ova priča o đavolu koji je došao po svoje deluje prilično deplasirano. Ako je đavo i došao po svoje, savremeni tinejdžeri su ga zaklali i ispekli na ražnju. Otud, film ne samo po svom dizajnu nego i po odnosima među likovima i njihovim problemima deluje pomalo arhaično, i ta okrenutost epohi klasika žanra ima sličnu funkciju kao u BABADOOKu, s tim što je ovo mnogo bolji film.

U domenu filmskog horora, Mitchell se bavi premisom koja je opet pa na granici filmske održivosti. Izolovani junaci "bez ikog svog" pokušavaju da se obračunaju sa zanimljivim, ali opet krajnje nekonzistentnim utvarama, i nedostatak konkretne "mitologije" ovih spektralnih pretnji koje se ponašaju kao seksualno prenosiva duševna bolest, umanjuje ubojitost ovog horora, i sve do samog finiša tretman tih "pretnji" graniči se sa indie psihološkom dramom.

Ideja seksualno prenosive duševne bolesti nosi u sebi puno potencijala, naročito sada kada smo se našli u dobu smrti novih i velikog kambeka starih STDjeva, kada je sifilis postao opasniji od HIVa, no Mitchell nije ispratio taj preokret. Rekao bih čak da se u njegovom svetonazoru ni HIV još nije pojavio kao podtekst iako je hororom protutnjao pre dvadesetak godina kroz vampirski film.

Otud i prelazak u domen horor mehanike, donosi i olakšanje i "pojeftinjenje" svega onoga što je Mitchell strpljivo gradio. Nekonzistentnost pretnje na kraju nažalost nije uspeo da konvertira u horora vrednu iracionalnost.

Na kraju, kada se podvuče crta, Mitchellov film najlaskavije rečeno deluje kao nezvanični rimejk Alfredsonovg LAET DEN RATTE KOMMA IN. Doduše, američki rimejk Matta Reevesa je daleko bolji i konzistentniji od Mitchellovog filma.

Međutim, Alfredsonov pogodak od pre nekoliko godina jeste prava referenca, ne samo zato što se u završnoj sceni na bazenu IT FOLLOWS pretvara u skoro pa direktnu imitaciju tog filma. I ovog puta imamo film koji pokušava da stavi akcenat na likove, da priđe hororu iz jednog kontra ritma, i to ne da bi bio neki single-scare borefest nego upravo u pokušaju da bude nešto više.

Ne osećam se uskraćeno zbog činjenica da ovaj film na kraju nije "bio nešto više" jer uprkos tome što je u domenu horora ipak podbacio, pokušao je da to nadoknadi nekim fundamentalnim kvalitetima u pogledu rada sa glumcima, fotografije i muzike.

Nažalost, u ovom filmu je ono što je dobro mahom bajato, i ta druga ruka mi je poprilično zamorna. Seksualna politika IT FOLLOWSa deluje kao nešto što bi inspirisalo SCREAM, kao film koji bi kod Kevina Williamsona bio referenca, a muzika na liniji Tangerine Dream je izvanredna, ali kao da je odsivrana u nekom drugom vremenu i za neki drugi film, pa se slučajno našla kao temp track kod Mitchella.

To su ave problemi koje Alfredson recimo nije imao.

No, fascinacija osamdesetim i pokušaj da se stvori film koji maltene više liči na horor osamdesetih nego što su oni ličili, izuzetno je prisutna kod indie reditelja sa žanrovskim aspiracijama. Ovog puta taj fetišizam nije kažnjen ostankom filma na margini, ali ne bih rekao da je izuzev lepog detalja samog za sebe kao što je skor doneo neku naročitu korist filmu.

No, svi ove nedostaci na stranu, IT FOLLOWS je film koji skoro neprekidno uspeva da bude zanimljiv, kvalitetno realizovan, i na duže staze značajan kao balvan koji je otvorio kapije velikih komercijalnih rezultata hororima indie senzibiliteta.

* * * / * * * *

Wired:

This is my ghost gun. To quote the rifleman's creed, there are many like it, but this one is mine. It's called a "ghost gun"—a term popularized by gun control advocates but increasingly adopted by gun lovers too—because it's an untraceable semiautomatic rifle with no serial number, existing beyond law enforcement's knowledge and control. And if I feel a strangely personal connection to this lethal, libertarian weapon, it's because I made it myself, in a back room of WIRED's downtown San Francisco office on a cloudy afternoon.

I did this mostly alone. I have virtually no technical understanding of firearms and a Cro-Magnon man's mastery of power tools. Still, I made a fully metal, functional, and accurate AR-15. To be specific, I made the rifle's lower receiver; that's the body of the gun, the only part that US law defines and regulates as a "firearm." All I needed for my entirely legal DIY gunsmithing project was about six hours, a 12-year-old's understanding of computer software, an $80 chunk of aluminum, and a nearly featureless black 1-cubic-foot desktop milling machine called the Ghost Gunner.

The Ghost Gunner is a $1,500 computer-numerical-controlled (CNC) mill sold by Defense Distributed, the gun access advocacy group that gained notoriety in 2012 and 2013 when it began creating 3-D-printed gun parts and the Liberator, the world's first fully 3-D-printed pistol. While the political controversy surrounding the notion of a lethal plastic weapon that anyone can download and print has waxed and waned, Defense Distributed's DIY gun-making has advanced from plastic to metal. Like other CNC mills, the Ghost Gunner uses a digital file to carve objects out of aluminum. With the first shipments of this sold-out machine starting this spring, the group intends to make it vastly easier for normal people to fabricate gun parts out of a material that's practically as strong as the stuff used in industrially manufactured weapons.

The Ghost Gunner may signal a new era where the barrier to building an untraceable semiautomatic rifle is lower than ever before.

In early May, I got a Ghost Gunner, the first of these rare CNC mills loaned to a media outlet, and I tried it out. I'm going to give away the ending: Aside from a single brief hardware hiccup, it worked remarkably well. In fact, the Ghost Gunner worked so well that it may signal a new era in the gun control debate, one where the barrier to legally building an untraceable, durable, and deadly semiautomatic rifle has reached an unprecedented low point in cost and skill.

But the Ghost Gunner represents an evolution of amateur gun-making, not a revolution. Homebrew gunsmiths have been making ghost guns for years, machining lower receivers to legally assemble rifles that fall outside the scope of American firearms regulations. In fact, when we revealed the Ghost Gunner's existence last year, the comments section of my story flooded with critics pointing out that anyone can do the same garage gunsmithing work with an old-fashioned drill press.

I could hardly judge the fancy new CNC mill in WIRED's office without trying that method too. Or for that matter, Defense Distributed's previous trick, building gun parts with a 3-D printer. Before I realized exactly what I was getting into, I determined to try all three methods in a ghost-gun-making case study. I would build an untraceable AR-15 all three ways I've heard of: using the old-fashioned drill press method, a commercially available 3-D printer, and finally, Defense Distributed's new gun-making machine.
All the components of my AR-15, including my homemade lower receiver, the gleaming aluminum piece.Click to Open Overlay Gallery
All the components of my AR-15, including my homemade lower receiver, the gleaming aluminum piece. Josh Valcarcel/WIRED
The Ingredients of a Ghost Gun

Almost no one builds a ghost gun from scratch, and I didn't either. The shortest path to building an untraceable AR-15 requires only that you build one relatively simple component yourself, a part that's become the focus of a fierce gun control controversy: the lower receiver.

US gun regulations have focused on the lower receiver because it's the essential core of a gun: It holds together the stock, the grip, the ammunition magazine, and the upper receiver, which includes the barrel and the chamber where the cartridge is detonated. As Doug Wicklund, senior curator at the NRA museum explained to me, the lower receiver always has carried the serial number because it's the part that remains when the others wear out and are replaced. Like the frame of a bicycle or the motherboard of a computer, it's the nucleus of the machine around which everything else is constructed.
My AR-15's homemade lower receiver.Click to Open Overlay Gallery
My AR-15's homemade lower receiver. Josh Valcarcel/WIRED

It's worth noting that buying an AR-15 in the US isn't hard. But the privacy-minded—as well as those disqualified from gun purchases by criminal records or mental illness—can make their own lower receiver and purchase all of the other parts, which are subject to nearly zero regulation. I ordered every part of my AR-15 but the lower receiver from the website of Ares Armor, a Southern California gun seller that doesn't require any personal information beyond a shipping address. If I wanted to hide my purchases from my credit card company, I could have paid in bitcoin—Ares accepts it.

There's even a way to anonymously buy that highly regulated lower receiver—almost. Like many gun vendors, Ares sells what's known as an "80 percent lower," a chunk of aluminum legally deemed to be 80 percent of the way toward becoming a functional lower receiver. Because it lacks a few holes and a single precisely shaped cavity called the trigger well, it's not technically a regulated gun part.

Buying or selling a ghost gun is illegal. Making one remains kosher under US gun control laws.

Machining the last 20 percent myself with a CNC mill or drill press would allow me to obtain a gun without a serial number, without a background check, and without a waiting period. I wouldn't even have to show anyone ID. Law enforcement would be entirely ignorant of my ghost gun's existence. And that kind of secrecy appeals to Americans who consider their relationship with their firearms a highly personal affair that the government should keep out of.

Controversy swelled around ghost guns when John Zawahri, an emotionally disturbed 23-year-old, used one to kill five people in Santa Monica in the summer of 2013. Even so, they haven't been outlawed; buying or selling a ghost gun is illegal, but making one remains kosher under US gun control laws. California state senator Kevin Deleon introduced a bill to ban ghost guns last year, following the Santa Monica mass shooting. Governor Jerry Brown vetoed it a few months later.

But as the shouting match over ghost guns gets louder, few of the shouters have actually tried to make one. Even fewer have tried to test how the evolution of a new set of digital "maker" tools is changing that gun control question.

So over the course of one strange week in WIRED's office, that's what I set out to do. Here's how it all went down.
The drill press, jigs and vise I used in my first attempt to finish an 80 percent lower receiver.Click to Open Overlay Gallery
The drill press, jigs and vise I used in my first attempt to finish an 80 percent lower receiver. Josh Valcarcel/WIRED
The Drill Press

Remember when I said I know nothing about using power tools? Unsurprisingly, this portion of my gunsmithing experiment didn't go well.

Step one: Acquire a drill press, a massive stand-alone drill meant to cut the aluminum features out of my 80 percent-lower receiver. One $250 rental fee later, two colleagues helped me haul a drill nearly 6 feet tall down to our building's loading dock, a dark and chilly concrete space occupied by a pair of large Dumpsters. I'd paid Ares $97 for a set of steel-carbide drill bits and end mills—tools that act like bits but also can cut sideways like a milling machine—all of which the company recommended I use with the drill press to do the job. I paid another $110 for a set of steel jigs, metal stencils that would guide the machine as I tried to mill and drill precise shapes.

As the drill bit chewed into the block, I tasted fine aluminum dust between my teeth.

All that planning and spending, it turned out, couldn't compensate for my utter lack of even high-school-level shop skills. Before I'd even begun, I realized I had the wrong sort of vise, and we had to drive an hour and drop $80 to pick up another one. Then there was the drilling itself—which, it would turn out, is not as easy as it looks on the Internet.

I reviewed my lower-receiver drilling basics on YouTube one last time, put on latex gloves and eye protection, screwed the steel jigs around my slug of aluminum, tightened the clamps, and hit the chunky green power button.

As the drill bit chewed into the block, I felt a rush of excitement and tasted fine aluminum dust between my teeth. The bit threw off metal shavings and left behind a gleaming, polished crater. But my elation faded as I realized how badly I was mangling the trigger well. No matter how hard I cinched it down, the vise shuddered constantly, moving the aluminum piece. The holes I was cutting veered off until they were practically diagonal.

When I switched to the end mill to clean up the spaces between the pits I'd created, I found they were mostly at different depths: The drill bit had somehow moved up and down, and I hadn't noticed. The bottom of the cavity I'd made began to resemble the surface of the moon. Meanwhile, the massive machine protested loudly, shaking like a train about to derail. Throughout this ordeal, WIRED video producer Patrick Farrell, a former bike mechanic who probably could have offered helpful advice, watched me struggle from behind his camera with a restrained smirk. The unwritten rule: I was in this alone.

I kept at it for five and a half hours. Then the head of the drill press—the part that holds the bit, which I'd later learn is called the "chuck"—fell off. I had no idea whether this was supposed to happen as a kind of fail-safe, or if I had destroyed an expensive piece of equipment rented with Farrell's credit card. I screwed the chuck back in, and after a few more minutes of metal-on-metal violence, it dropped off again. (I still don't know if I damaged the drill press, but a gunsmith later explained to me that it likely wasn't designed to handle the lateral pressure of using it as a milling machine.)

That's when I gave up. I had nothing to show for my labor but a sad metal block scarred by a maze of crooked channels. Well, that and a left hand bristling with tiny aluminum shards where my latex glove had split.
A 3-D printed lower receiver on the print bed of a Makerbot Replicator.Click to Open Overlay Gallery
A 3-D printed lower receiver on the print bed of a Makerbot Replicator. Josh Valcarcel/WIRED
3-D Printing

I left the grease-soaked drill press in WIRED's loading dock, headed back upstairs, and pulled a $2,800 Makerbot Replicator from its box. It felt like the elevator was a time machine shortcutting about a century of technological progress.

I plugged in the 3-D printer, followed a series of delightfully idiotproof instructions, and in minutes was test-printing a tiny white coffee table. Soon I was ready to start making gun parts; no obscure YouTube instruction videos, calipers, jigs, or aluminum splinters required.

I found the blueprint for a printable, reinforced AR-15 lower receiver on The Pirate Bay. It was one of dozens of gun parts available for download in the rogue BitTorrent repository's "physibles" section, a part of the site presciently created in 2012 to host controversial digital blueprints other sites wouldn't or couldn't. In fact, the file I downloaded had been created by Defense Distributed in 2013, but the group had pulled it from its own website after the State Department threatened to prosecute the group's staff for weapons-export-control violations.

It took a few minutes to torrent the lower receiver file. I opened it in Makerbot's printing application, centered it on the app's digital representation of the machine's print bed, and clicked print. The printer's motors began to whir, and within seconds its print head was laying out extruded white plastic in a flat structure that vaguely resembled the body of a semiautomatic rifle. As the workday ended and WIRED's office emptied, I found myself sitting alone in a darkening room, transfixed by the gun component slowly materializing before me.

At one point, six hours into the nine-hour print job, the Replicator's print head overheated and took some time to cool down. That required pressing one more button on the machine. I didn't touch it again. The next morning I came back to the still-dark room and found a finished, eerily translucent lower receiver glowing inside the Replicator's LED-lit chamber.

As science-fictional as that process felt, the results were flawed. When I pried the finished lower receiver off the print bed, one side was covered in support material meant to prevent the hot plastic structures from collapsing before they solidified. Snapping and scraping off that matrix of plastic was a long, messy process. I tried using a knife, cut my thumb, and bled all over one side of the rifle body. And the same support materials also filled tiny holes in the piece, in some cases choking the delicate threads meant to accept metal screws.

It's clearly possible, based on YouTube evidence, to 3-D-print AR-15 lower receivers that are capable of firing hundreds of rounds. But mine wasn't so practical; I wouldn't know it until I visited a gunsmith two days later, but I'd eventually give up on assembling a gun out of that plastic-printed lower receiver long before it was anywhere close to a becoming a functional weapon.
The Ghost Gunner, with an 80 percent lower receiver bolted inside.Click to Open Overlay Gallery
The Ghost Gunner, with an 80 percent lower receiver bolted inside. Josh Valcarcel/WIRED
The Ghost Gunner

The new generation of "maker" tools like 3-D printers and CNC mills have been lauded as machines that allow anyone to make anything. But from my first moments using the Ghost Gunner, it was clear: This is a machine designed to make a gun.

Defense Distributed's CNC mill is a simple black cube, with two tiny stepper motors sticking out of two of its six sides. As if to underscore the power contained in its microwave-sized footprint, the machine was so heavy I could barely lift it from its box. When I did haul it onto a table, I was struck by the lack of branding or the toylike LED lights and buttons of the Replicator. Its stark simplicity mirrors the unmarked gun parts it's designed to create.

Eventually, it felt much more like the Ghost Gunner had programmed me to be its gun-making tool than vice versa.

The Ghost Gunner works with either of two pieces of software: GRBL, an open source, general-purpose milling application, and DDCut, a Windows-only gun-milling program created by Defense Distributed and recommended by the group for anyone other than advanced CNC mill users. The Ghost Gunner also comes with the DDCut instruction file for milling an AR-15 lower receiver, shipped on a USB thumb drive in the box. (Putting it on the Internet, as with the 3-D-printable files, might have prompted the State Department to threaten Defense Distributed with prosecution again for weapons-export-control violations.)

I installed DDCut and found that for its primary purpose of finishing a lower receiver, the Ghost Gunner is absurdly easy to use—mostly because I was never given the chance to make any choices. Once DDCut began running the AR-15 file and cutting into my 80 percent-lower receiver, my only interaction with the software was clicking "next" through a 22-step set of instructions and then doing things to the aluminum part that the software told me to do.

For one hour-long stretch in that process, I was given nothing to do but simply admire the Ghost Gunner as its blurred, cylindrical blade cut away the gun's trigger well with inhuman precision. At other times it seemed to alternate between carving aluminum and assigning me tasks like changing the lower receiver's position, tightening and loosening bolts, switching the end mill to a drill bit, or even vacuuming up the aluminum shavings that piled up in and around the machine. Eventually, it felt much more like the Ghost Gunner had programmed me to be its gun-making tool than vice versa.
The Ghost Gunner drills out a lower receiver's trigger pin hole.Click to Open Overlay Gallery
The Ghost Gunner drills out a lower receiver's trigger pin hole. Josh Valcarcel/WIRED

Over those hours, I couldn't help but appreciate the beauty of the Ghost Gunner's design and engineering. As it patiently removed metal, the aluminum piece and the cutting tool moved in robotic, mesmerizing patterns. The noises the machine produced alternated between high-pitched shrieking and low groans that echoed through the WIRED newsroom and elicited complaints from neighbors. But during quieter lulls, the Ghost Gunner also emitted a series of rising and falling harmonics, produced by vibrations of the mill's stepper motors, that sounded like a kind of alien melody. My editor, Joe Brown, who came into the room to watch the machine at work, remains convinced the machine was programmed to play a piece of composed music.

When it was only three steps away from finishing its full process, however, the Ghost Gunner hit a serious snag. The probe the mill uses to measure the lower receiver's location malfunctioned, and the machine locked itself. To get it moving again, I had to break the rules of my experiment and call Cody Wilson, Defense Distributed's founder, to seek advice. At first he told me I'd have to rerun the entire process—close to four hours of wasted time. "It's a design flaw," Wilson admitted. "If it stops, it has to start again from the beginning."

But Wilson soon came up with a better plan and sent me a new file that rehearsed only the last portion of the AR-15 cutting process. Twenty minutes later I pulled from the machine the shining, perfect body of a semiautomatic rifle, as warm as if it were some baked good fresh from the oven.
My fully assembled AR-15.Click to Open Overlay Gallery
My fully assembled AR-15. Josh Valcarcel/WIRED
Assembly

The Ghost Gunner's lower receiver looked obviously superior to my 3-D-printed one—and even more obviously superior to the hot mess of uneven aluminum I'd chewed up with the drill press. But before assembling the full weapon, I wanted an expert opinion. So I visited Bay Area Gunsmithing, a sunny garage in Novato, California, populated by two professional gunsmiths, a very impressive collection of ordnance, and a gracefully aging dachshund named Ruth.

When I showed my manually drilled lower receiver to Nathan Rynder, the shop's owner, he dismissed it immediately. The hammer and trigger wouldn't fit into the narrow, winding gorge of the trigger well I'd created, and I hadn't even gotten as far as drilling holes for the selector and trigger pins. (He did note that he'd seen worse attempts, including a customer who had brought him a lower receiver with a gaping, unintended orifice drilled through its side.)

I was more surprised when Rynder insulted my 3-D-printed lower receiver. "This is not ready to rock," he said, skeptically probing the part's details with his fingers. He pointed out that the blueprint had misplaced something called a "takedown pin hole," and he made a further to-do list of necessary fixes before it could be assembled. "You'd need to thread in a pistol grip, clean out the buffer tube threads, clean up everything a pin went through," Rynder said. "You'd need several hours of labor to clean this thing up."

Just the idea of a 3-D-printed lower receiver bothered him; if the ring that held on the buffer tube and stock (the big loop at the back of the receiver) were to break, he pointed out, it could unleash a large and powerful spring inches from the shooter's face. "It scares me," Rynder said.
My Ghost Gun Budget

Building an untraceable AR-15 with the Ghost Gunner is pricier than it would be with a traditional drill press. But it requires far less skill than that manual method and costs less than creating the gun with a typical 3-D printer.

Drill Press Method

JET drill press rental: $250

End mills/drill bits: $97

Slide Vise: $80

80 percent lower jigs: $135

80 percent lower receiver: $68

Upper receiver: $550

Lower receiver parts kit:

(trigger, hammer, grip, etc) $75

Stock: $63

Magazine: $16

Total: $1,334

3-D Printer Method

Makerbot Replicator: $2,900

Plastic spool: included

Upper receiver: $550

Lower receiver parts kit:

(trigger, hammer, grip, etc) $75

Stock: $63

Magazine: $16

Total: $3,604

Ghost Gunner Method

Ghost Gunner: $1,500

80 percent lower receiver: $68

Upper receiver: $550

Lower receiver parts kit:

(trigger, hammer, grip, etc) $75

Stock: $63

Magazine: $16

Total: $2,272

My Ghost Gunner–milled AR-15 body, by contrast, got a stoic nod of approval. Rynder—who, allow me to stress, makes guns for a living—wasn't exactly wowed that I'd produced a functional, essentially flawless lower receiver. But he gave me the go-ahead to build it into a full rifle. "It's safe to assemble, safe to fire," he said. "Yes, you could put this together and it would be ready to go."

Over the next hour in Rynder's shop, I constructed my AR-15. This was harder than Forrest Gump makes it look. But I persisted, learning the process as I went by watching a YouTube video from Ares Armor a few seconds at a time. (At a couple of points, Rynder couldn't help but point out that I had inserted a part backward or give me an unsolicited hint. I suppose this was cheating in my one-man gunsmithing experiment, but unfortunately Rynder was a very friendly, helpful, and competent person.)

When I finally slotted in the pins to attach the upper receiver—a component that looks much more like a gun than the lower receiver and whose total lack of regulation is, frankly, bizarre—they made a pleasant chink. My AR-15 was complete.

I looked down at the fully built rifle and something in my brain shifted. I realized that the abstracted parts I'd been fiddling with had turned into an object capable of killing someone. My lower receiver had transformed from a "gun" in a legal sense to a "gun" in a very practical sense.

I remembered that I should start being careful where I pointed it.
Firing my AR-15.Click to Open Overlay Gallery
Firing my AR-15. Josh Valcarcel/WIRED
Shooting

Three days later, at a private range in Richmond, California, a half hour from Rynder's shop, I loaded my AR-15 with a 10-round magazine of .223 caliber ammunition and fired it for the first time. I pulled the trigger hesitantly as I aimed at a piece of cardboard 50 yards away. The deafening blast silenced the tweeting of nearby birds and echoed around the range's wooden walls as the rifle's stock dug into my shoulder. I could see a tiny hole in the cardboard. A plume of dust rose from the dirt berm behind it.

"Well, it goes bang," Rynder said.

I fired again. Then three more times. Then I emptied the magazine. Then I reloaded and emptied another one.

Halfway through the next magazine, I pulled the trigger but got nothing but a soft click. The rangemaster, who happened to be a former winner of the shooting competition reality TV show Top Shot named Chris Cheng, diagnosed that the upper receiver had jammed and needed to be lubricated—a common problem with new rifles. He opened it up and doused the bolt and buffer parts in grease, then put the upper receiver back on.

My rifle performed perfectly for the rest of the morning. After our video team fired the rest of the 40 rounds I'd brought, Rynder walked over to the neighboring range and convinced the friendly local SWAT team members practicing there to give us another 60 rounds. We shot those too. The gun didn't misfire again.
Exorcising My Ghost Gun

The day after that shooting field trip, I had a flight home to New York. Taking my ghost gun on a plane—legally, three ghost guns, in fact, since I had created three lower receivers—seemed unwise. I couldn't leave them in WIRED's office in San Francisco either, because that might count as legally transferring ownership of the unserialized guns, which is a felony. I considered destroying them with a hacksaw, but regulations posted online by the Bureau of Alcohol, Tobacco and Firearms seem to demand that a lower receiver be destroyed with a blowtorch, removing enough metal that it can't possibly be welded back together.
The testfiring target.Click to Open Overlay Gallery
The testfiring target. Josh Valcarcel/WIRED

So instead I decided to surrender my three lower receivers to the local police. I disassembled my AR-15 and left a large box containing all of the parts except the lower receivers on my editor's chair. Then I walked down the street to the police station in San Francisco's SoMa neighborhood and told the lady at the front desk I wanted to hand over some firearm components. She gave me a puzzled look and asked me to sit down.

Forty minutes later, two cops emerged from a door and asked what I was doing there. I explained and showed them the three lower receivers. They examined them with expressions that were simultaneously quizzical and bored. I asked them if it was common to see AR-15 lower receivers like these: homemade, with no serial numbers. "I've never seen this before," one of them said.

The cops gave me a handwritten receipt for the three weapons I'd turned in, as if to definitively show that these were no longer outside of law enforcement's awareness or control: They now had a number. Then they took my lower receivers behind their locked door and I said goodbye to my ghost gun.

When this story published, the Ghost Gunner still sat in a storage room of WIRED's office a few blocks away. It's ready to make another lower receiver at any time. And Defense Distributed has already sold more than a thousand of their gun-making boxes, each one a tiny, easy-to-use, anarchic rifle factory.

In other words, to paraphrase the rifleman's creed again, this ghost gun was mine. But there will be many like it.

Jedini intervju kojii je Stoya dala u Beogradu...

http://www.beforeafter.rs/drustvo/stoya-meets-motherland/

Emma Stone, Jennifer Lawrence, and Scarlett Johansson Have an Older-Man Problem

Imaju i grafikoni na linku.

Sve je to život...


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Pogledao sam ЦЕЛЬ ВИЖУ Jevgenija Sokruova, prilično ravnu filmsku priču o školovanju snajperistkinja u SSSRu za vreme Drugog svetskog rata. Mnoštvo motiva koji su uvedeni i načelno raspoložena glumačka podela nisu valjano iskorišćeni u ovom jedva jednoipočasovnom filmu koji u sebi nosi televizijsku površnost i plakatski propagandizam slabih polu-namenskih partizanskih filmova iz SFRJ sedamdesetih.

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OFF Predraga Stojića, po scenariju književnika Marka Krstića biće oklevetan od strane kritike, i umnogome zaslužiće gaženje jer ima u sebi puno problema. Međutim, u ovom filmu postoji nekoliko stvari koje zapravo itekako vrede.

Najpre, ovo je film realizovan u no budget uslovima za koji evidentno možemo reći da nije u potpunosti snimljen, da za znatan deo materijala, a po onome što vidimo na ekranu ciljala se mejnstrim estetika, naprosto nije bilo uslova da se uslikaju. Međutim, sa onim materijalom koji jeste snimljen, izvršene su neke intervencije u najboljoj tradiciji kormanovske B-produkcije, ubačen je stock footage, uzeto je dosta filler materijala glumaca ili ambijenata bez dijaloga i podvučeni su monolozi iz offa, i na kraju je ispričana priča.

Ta priča sama po sebi nije nova, nije originalna i nije naročito interesantna ali je za uslove našeg filma korektna. Dva brata, izgubljena u miljeu više srednje klase, odnosno u miljeu lekara koji su u većini društava klasa za sebe, nalaze sebe u ilegalnim uličnim trkama. Kada mlađi biva ucenjen da učestvuje u jednoj od njih, odavno umirovljeni stariji brat mora da sedne za volan i spase ga.

U priči imamo sve sastojke B-filma, korumpiranu policiju, strukture iznad zvaničnih struktura, tajne službe, ilegalne automehaničarske radionice u kojima se pimpuju kola itd., žene koje vole glavni junaci pod tušem bez nekog značajnijeg razloga.

I sve su to elementi na koje smo navikli u B-filmu, a u našoj kinematografiji doživljavaju svoju, pomalo zakasnelu, premijeru i deluju na neki način deplasirano, skoro komično. I tu dolazimo do ključnog paradoksa recepcije savremenog filma.

Socijalistička kinematografija nas je naučila da su umetnicima obezbeđeni uslovi za rad, da ih država subvencioniše ne bi li oni mogli da se bave umetnički vrednim delima i da im daje budžete koji su dovoljni da se zamisli realizuju. I naša publika je u odnosu na naš film nabaždarena baš po tom kriterijumu, ili mu oprašta sve samo ako je zabavan, odnosno smešan.

OFF je radikalan primer kormanovskog B-filma nastao metodom pabirčenja, mimo institucija, koji je verovatno nekom ludom srećom uspeo da sklopi u neku koliko-toliko razgovetnu celinu. Ulazak u kapitalizam doneo je i B-film kao formu koja je našoj publici radikalno neprihvatljiva iako je bez problema "podnose" kada se suoče sa američkim filmovima tog tipa.

OFF je doduše krenuo sa uslovnim A-ambicijama, pa se ne može porediti sa MAMULOM, koja je krenula sa jasnom ambicijom i zaokružila je, ali to drobljenje koje čeka Stojićev film u kritici, dolazi iz istog izvora - nesposobnosti da se prihvate nove okolnosti u našem filmu.

U tom pogledu, OFF je najbliži estetici "garažnog filma" koji je afirmisan na ovogodišnjem FESTu, premda ga verovatno ni "garažeri" ne bi lako prihvatili jer se ne izražava u underground postulatima koji njih nadražuju i ipak suviše koketira sa mejnstrimom da bi se uklopio sa njihovim spojem velike pretenzije i uporedivog diletantizma.

OFF je rečju krenuo kao pokušaj mejnstrima, a završio je primenom tehnika undergrounda i radikalnog B-filma i exploitationa. Ovakvih filmova sam se nagledao, naročito u sedamdesetim i osamdesetim, i to je eksces koji je prepoznatljiv. Otud, ne mogu prikriti činjenicu da sam na jednom perverznom nivou i uživao u svemu ovome, ne samo zato što se kod nas retko sreće krimić već i zato što niko do sada nije ovako očajnički pokušao da da "razvuče" svoje materijal na minimum celovečernjeg rada i u tome zapravo uspeo.

TARGETS Petera Bogdanovicha mi pada na pamet kao primer sličnog postupka a sigurno možemo naći još kormanovskih intervencija tog tipa.

U određenom smislu, svođenjem Đuričkovih dijaloga na minimum, film mu daje i jednu novu glumačku dimenziju. Ovde nije vickast, nije ni naročito opasan, ali jeste drugačiji nego inače i mislim da on, koliko god to sumanuto zvučalo, od ovog polu sakrivenog filma, može nekako i profitirati kao umetnik.

Naravno, imam punu svest o tome kako moj utisak o OFFU dolazi uz veliko opterećenje ličnim preferencama i profesionalnim derformacijama, svakako da sam sada već u fazi kada mi je neki postupak zanimljiviji od rezultata koji je postigao, tako da ovaj film treba gledati na vlastitu odgovornost.

Ipak, OFF ostaje jedan novi korak u domenu produkcije koja nije uspela da sebi obezbedi državnu pomoć.

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Pogledao sam DEMON BABY Corrie Greenopa. Reč je o niskobudžetnom britanskom hibridu psihološke drame i horora, u kome bih horor pre definisao kao imaginarijum realizacije psihoze glavne junakinje nego kao istinsko žanrovsko opredeljenje.

Film govori o mladom paru, koji u ranoj fazi suprugine trudnoće odlazi na izlet u Škotsku gde trudnicu počinju da progone uznemirujuće vizije. Nažalost, te vizije su više uznemirujuće za junakinju nego za publiku.

Solidna gluma svih ljudi na ekranu čini da ova izuzetno isprazna priča pred nama relativno brzo i nenametljivo prođe, ali kada bi se gledalac posle gledanja filma upitao šta je to gledao, teško bi mogao da opiše, ili taj opis ne bi baš delovao laksavo po film.

Greenop je tehnički solidno realizovao film i prava je šteta što ta kompetencija nije ispraćena nekom zanimljivom idejom. Ipak, senzibilitet spoja dobro glumljene melodrame, malo strašnjikavih halucinacija i krvoprolića, deluje kao recept za plasman filma na specijalizovanim festivalima pa i u programu jakih distributera.

* * / * * * *

Jason Statham je novi (televizijski) Bullseye u Daredevilu.

Statham se ubudžio u Marvel. Lako je njemu...


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http://youtu.be/VT1J65KHX8E

Steven Knight ("Locke") wrote the untitled period project for Paramount and New Regency
Brad Pitt has been looking for a lover for his next WWII movie and he has finally found one in Oscar winner Marion Cotillard, who's in negotiations to join him in the untitled period film that Robert Zemeckis is directing for Paramount and New Regency, TheWrap has learned.
Zemeckis is also producing the romantic spy drama with his longtime collaborator Steve Starkey as well as Graham King. Steven Knight wrote the script and will serve as an executive producer alongside Jack Rapke, Patrick McCormick and Denis O'Sullivan.
Pitt and Cotillard will play assassins who fall in love during a mission to kill a German official. They soon marry, but their romance is cut short when Pitt is told that his wife is a double agent working for the German government and he must kill her.
Also Read: Marion Cotillard Joins Michael Fassbender in 'Assassin's Creed'
Production had been expected to start in the fall but Cotillard will be busy shooting "Assassin's Creed" with Michael Fassbender, while Zemeckis will be swamped with press for his 3D movie "The Walk." Once the studio agreed to shift the start date to early 2016, Pitt decided to squeeze the Netflix movie "War Machine" into his busy schedule, which also includes a "World War Z" sequel.
Cotillard, who will soon be seen opposite Fassbender in "Macbeth," is represented by CAA and Agence Adequat.

Official Synopsis for Batman v. Superman: Dawn of Justice Revealed

QuoteThere hasn't been a lot coming from the set of Batman v. Superman: Dawn of Justice. Seems Warner Bros is a bit more guarded about next year's blockbuster film, which will hit theaters on March 25, 2016. There's been a teaser and a couple photos here and there, but nothing compared to what we're seeing come from other films.
However, with the Licensing Expo starting tomorrow in Las Vegas, Collider got their hands on the first official synopsis for the upcoming film. Check it out:

Fearing the actions of a god-like super hero left unchecked

,Gotham City's own formidable, forceful vigilante takes on Metropolis's most revered, modern-day savior, while the world wrestles with what sort of hero it really needs. And with Batman and Superman at war with one another, a new threat quickly arises, putting mankind in greater danger than it's ever known before.

The synopsis is pretty much what we expected, for the most part. However, there's one thing we don't know. Who or what is this new threat that quickly rises? From what we know of, from the cast, there's not really any villains here, aside from Lex Luthor. Could he be the new threat? One that's big enough to take on both Batman AND Superman? Looks like we'll have to wait to find out.

Pogledao sam INTO THE STORM Stevena Qualea, prošlogodišnji Warnerov disaster film koji je bio uvod u ovogodišnji blokbaster SAN ANDREAS. Warner ima možda i najkonzistentniju tradiciju disaster filma među holivudskim studijima i temu tornada već je obradio u TWISTERu Jana De Bonta koji se ionako smatra svojevrsnim klasikom žanra. Iako je TWISTER u svoje vreme bio smatran pre svega velikom egzibicijom specijalnih efekata u Spielbergovoj produkciji sa šarmantnim rolama Billa Paxtona i Helen Hunt, taj film je Ingmar Berman u poređenju sa ovim što je snimio Quale. Naime, Quale je snimio film u kome praktično ne postoji nijedan lik. Svaka osoba koja se pojavi na ekranu iziskuje određeni napor ne bi li se gledalac prisetio o kome je reč i kakave veze taj lik ima sa nazovi-narativom.

Nema nikakve personalnosti, ili upečatljivosti ni u prirodnoj katastrofi koju film prikazuje iako je koncept found footage sa kojim Quale koketira ali ga ne koristi do kraja zapravo otvarao mogućnosti za vizuelno ekspresivniji rad.

Na kraju INTO THE STORM osim kratke minutaže nema čime da se pohvali.

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ПАРАГРАФ 78 je diptih Mihaila Hleborodova, priča podeljena na dva filma o misiji ruske komandoske ekipe koja u bliskoj budućnosti biva poslata da reši krizu u supertajnoj vojnoj laboratoriji. Hleborodov se u ova dva filma bavi prikazom vojnih akcija u maniru američkog akcionog filma i sasvim je jasno da ПАРАГРАФ 78 pokušava da se nadoveže na rešenja iz ALIENSa, PREDATORa i RESIDENT EVILa.

Za zapadno tržište napravljena je verzija u kojoj su iskombinovana dva filma i verujem da bi takva verzija ako su je sklapali vešti montažeri itekako mogla imati smisla. ПАРАГРАФ 78 definitivno ima produkcionu izgrađenost koja bi mogla biti internacionalno interesantna.

Ono što bi se definitivno moglo skratiti jesu repetitivne situacije u kojima tri glavna junaka evociraju svoj nekadašnji ljubavni trougao a ima još nekoliko elemenata koji se poanvljaju ili su suvišni. Ipak, ne mogu reći da je prvih sat i po priče na bilo kom nivou dosadni.

Prvi film ima određenu zaokruženost, prikazuje odlazak ekipe na misiju i trenutak kada misle da su je obavili. Ipak, ako imamo u vidu da je ovo guys on a mission film, podela na dva dela bez neke radikalnije dramaturške intervencije ipak deluje krajnje neobično i ne verujem da ovako treba eksploatisati trilere.

Glumačka podela je zanimljiva. Nažalost, najmanje ekspresivan glumac ima glavnu ulogu i to je jedan od problema.

Ono što junaci zatiču u napuštenoj laboratoriji je zanimljivo, mada u okvirima očekivanog jer zaista postoji bogata filmografija sličnih zapleta. No, Hleborodov to sve radi sa pristojnom estetizacijom i punim ubeđenjem tako da spoj relativno neiskorišćenog imaginarijuma ruske vojske i pouzdanih žanrovskih obrazaca daje simpatičan rezultat.

Videćemo kako će se Hleborodov pokazati u drugom delu i koliko je on zaokružen.

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Jon Bernthal Cast as Frank Castle for Second Season of Daredevil

Quote

Huge news coming from Marvel's website today as Jon Bernthal was announced that he's joining the second season of Marvel's Daredevil and he's playing Frank Castle AKA The Punisher, the vigilante who wants to clean up New York City's Hell's Kitchen, even if that means killing people.
Bernthal is known for his role as Shane on AMC's The Walking Dead as well as his role in Fury. The head of television of Marvel, Jeph Loeb, is excited about Bernthal coming to the show:

"Jon Bernthal brings an unmatched intensity to every role he takes on, with a potent blend of power, motivation and vulnerability that will connect with audiences... Castle's appearance will bring dramatic changes to the world o

f Matt Murdock and nothing will be the same."

No news yet when the second season will air yet, but we'll keep you updated.

A ima i ovo:

  Deadshot Rappels from a Roof and More Set Photos from Suicide Squad

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In another example of Syfy upping its star wattage, the cabler announced today that it is partnering with Bradley Cooper, Graham King and Todd Phillips to develop an event series based on Dan Simmons' Hugo Award-winning bestselling novel "Hyperion."

The three men will exec produce. Itamar Moses ("Boardwalk Empire") will write the screenplay and serve as co-executive producer. Universal Cable Productions will serve as the studio. "Hyperion" will be a production of King's GK Films and Cooper and Phillips' 22nd and Green.

"It is an absolute honor to enter into the world created by Dan Simmons that is arguably one of the greatest works of science fiction, and help realize it for television audiences," said Cooper.

Set on the eve of Armageddon with the entire galaxy at war, "Hyperion" follows seven pilgrims who set forth on a voyage to seek the answers to the unsolved riddles of their lives. Each carries a desperate hope and a terrible secret — and one may hold the fate of humanity in his hands.

"'Hyperion' is a science fiction masterpiece. Dan Simmons' universe is unique and darkly compelling, and the creative team assembled here is simply as good as it gets," said Jeff Wachtel, president & CCO of NBCUniversal Cable Entertainment.

The project announcement follows news of other high-profile endeavors at Syfy, including an adaption of Aldous Huxley's "Brave New World" with Amblin Television, Gale Anne Hurd's 13-episode thriller "Hunters," David Goyer's Superman prequel "Krypton," and Matt Damon and Ben Affleck's futuristic espionage thriller "Incorporated."

"As Syfy continues to forge important partnerships with award-winning talent on and off screen, this powerhouse team led by Bradley Cooper, Graham King and Todd Phillips brings an extraordinary track record in producing entertainment of the highest creative ambition," said Syfy and Chiller president Dave Howe. "Epitomizing the gold standard of science fiction storytelling, Hyperion tackles smart and provocative themes that help define Syfy's development vision."

Cooper is represented by CAA. He is also an exec producer of CBS' "Limitless," a series based on his 2011 film. Moses is represented by UTA, and Phillips is represented by CAA and attorney Warren Dern at Sloane, Offer, Weber, & Dern.




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Quote from: crippled_avenger on 10-06-2015, 22:18:08



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Tvoj život je dobio božanski seal of approval, reklo bi se 

da li ovo je kraj o kom je pričala mama u pesmi van gogha?


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Gledam probnu sliku sa snimanja. Nisam hteo da primedbujem na fejsu, ali Stoja mi deluje kao lepa žena obučena u neobično-običan kostim. Nedostaje mi neka magija kojom bi bilo nedvosmisleno da nije u pitanju žena nego android. (ili se kaže ginoid?)

 The Complicated Legacy of Batman Begins

Stari o ničijoj zemlji između Čabona i Šejbona.

http://www.beforeafter.rs/kultura/kako-izabrati-pravu-knjigu/



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Ode Christopher Lee...

http://starikadar.blogspot.com/2015/06/kristofer-li-1922-2015.html

http://mute.com/laibach/announce-the-liberation-day-tour-performing-in-pyongyang-north-korea kraj!


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Quote from: crippled_avenger on 11-06-2015, 18:42:43
http://mute.com/laibach/announce-the-liberation-day-tour-performing-in-pyongyang-north-korea kraj!


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Koji carevi!  Nestrpljivo cu cekati taj dokumentarac.

Drugi deo diptiha ПАРАГРАФ 78 Mihaila Hleborodova ima vlastitu zaokruženost, iako ga je zapravo ipak nemoguće gledati bez prvog dela. U drugom delu, članovi spasilačke ekipe shvataju da su smrtonosno inficirani i žele da završe tako što će pobiti jedne druge, izvlačeći parove koji će se satirati putem lutrije.

Repetitivnost ljubavnog trougla iz prvog filma produžava se i u drugom ali akcija, mahom jedan-na-jedan je prilično dobra i ljubavni trougao ima prilično visceralno razrešenje.

Zaokruženost se između ostalog postiže i time što se događaji iz prvog filma ne razrađuju dalje, iako bi možda trebalo, već dinamika unutar ekipe dolazi u prvi plan. Šta god mislili o tome da se film ovog žanra daje iz dva dela, verovaatno da bi se maksimalno naplatilo gledanje, nesporno je da u ovom slučaju imamo posla sa dramaturški osmišljenim deljenjem filma na dva, slično KILL BILLu.

U akcionim scenama Hleborodov pokazuje solidnu kompetenciju i šteta je što potom nije nastavio dalje putem akcionih projekata. Ipak, nadam se da takav razvoj situacije nije sasvim isključen.

* * 1/2 / * * * *

JURASSIC WORLD Colina Trevorrowa deluje kao jugoslovenska fudbalska reprezentacija - na okupu je niz sjajnih pojedinaca koji su se dobro pokazali u drugim projektima, sve vreme izgleda kao da će nešto da se desi i onda kada krene da se dešava na kraju nikako da se desi. Rezultat od umereno simpatičnog vremenom postaj mučan.

Colin Trevorrow je snimio izuzetan indie film SAFETY NOT GUARANTEED i u JURASSIC WORLDu se ispostavilo da nije dorastao ovom zadatku. Na kraju ceo film je režiran vrlo ex catedra, i to ne samo u domenu akcije koja je izuzetno pitoma, bez ijednog istinski velikog set-piecea, sa par zanimljivih detalja, već i u domenu glume gde sam očekivao mnogo više od ovog reditelja. Imam momenata lucidnosti, ima situacija u kojima zaigra Prattov šarm ili kada se oseti nešto indie nekonvencionalnosti, ali ukupno uzev, takvi bljesci su vrlo retki.

Film pokušava da bude "pametan" i da komentariše savremenu klimu u svetu zabave u kojoj čak ni istinski impresivne stvari nisu više impresivne. Tako ovde na početku junaci konstatuju da "dinosaurusi više nikoga ne mogu da oduševe" i za potrebe toga genetski modifikuju novog i strašnijeg. Slično je i sa Trevorrowim. Umesto nekog rutiniranog reditelja spektakla, doveli su indie reditelja, kako bi doneo tog indie DNK ali na kraju, kao i akcija sa Indominus Rexom, sve se završava vrlo skromnim rezultatom.

Na scenariju su potpisana četiri pisca, Trevorrow i njegov sidekick Connely sa SAFETY NOT GUARANTEED plus Rick Jaffa i Amanda Silver koji su rebootvali Planetu Majmuna. Na kraju, najzanimljiviji detalj u zapletu ostaje premisa koju je navodno razrađivao John Sayles onomad za četvrti deo a to je priča o pretvaranju dinosaurusa u oružje. Možda će ta ideja biti dalje razrađivana u eventualnom petom delu.

Neke ideje kojima se bavi JURASSIC WORLD nisu sasvim moronske, kao što je recimo pretvaranje dinosaurusa u biološko naoružanje, pitanje da li su genetski modifikovani dinosaurusi svesni toga da nisu nastali "prirodnim putem" i kako poimaju svoje mesto u lancu ishrane, ali završnica u kojoj se parafrazira GODZILLA, odnosno pokušaj da se ljudi i dinosaurusi nađu na istoj strani, ima u sebi dosta zanimljivih implikacija, ne samo tu jednostavnost inverzije premise, no realizovana je nevešto i nemaštovito, tako da samo podvlači inherentnu glupost nametnute etičke dileme.

Naime, dinosaurusi nastali genetskom modifikacijom, jer smo u prvom delu saznali da se nisu mogli napraviti isključivo iz DNK dinosaurusa, odlučuju da se udruže sa ljudima kako bi pobedili abominaciju - GMO dinosaurusa, iako ni oni sami nisu niti nastali prirodnim putem, niti su prilikom nastanka rekonstruisani po svojim stvarnim karakteristikama već su naprotiv prilagođeni zahtevima zabavnog parka.

Paradoksalno, na kraju "negativci" u ovom filmu, predstavnik vojnoindustrijskog kompleksa i genetičar, uprkos nizu esencijalizovanih mana ispadaju zapravo jedini zastupnici zdravog razuma.

Bryce Dallas Howard je svoju ulogu nervozne poslovne žene uvučene u postolovinu krajnje prekempirala, i nije ni blizu vrhunaca tog tipa kao što je bila Kathleen Turner u ROMANCING THE STONE i sl. Chris Pratt igra u Amblinu, i ako je ovo proba za njegovo preuzimanje Indiana Jonesa onda... hm... ne bih rekao da je prošao test ali ne zbog svog magnetizma, već zato što mu materijal nije dopustio dovoljno prilika. U Prattovom slučaju, autori su morali izvući mnogo više.

Akcija, potere, napetost - sve to je vrlo mlako. Maštovitost je prisutna na nivou detalja ali ne i celine i nema punokrvnih razrađenih pretnji, nema antologijskih scena kao što je napad raptora u kuhinji itd.

Film smešten na egzottično ostrvo, sa dinosaurusima i dobrim facama na ekranu, a izuzev Bryce, svi su dobre face, nažalost na kraju funkcioniše samo na nivou land graba. Naprosto, toliki kadrovski, finansijski i tehnički napor ne može a da ne proizvede neki nivo prijatnosti.

JURASSIC WORLD međutim, istovremeno, ostaje krajnje kameran, rekao bih čak vizuelno neupečatljiv. Impresivnost se ovakvim sadržajem ne može proizvesti. Spielberg je u prvom filmu naplatio ekskluzivnost zamisli i realizacije a Bong je sve odveo na n-ti u pogledu napetosti u HOSTu - a rekao bih čak da je onda i JJ Abrams u SUPER 8 odradio Amblin.

Trevorrow je slabiji od većine uporedivih filmova kojih se možemo setiti i u najboljem slučaju dobacuje negde do LOST WORLDa koji je meni bio slabiji od trećeg. Ipak, ova ekipa na okupu naprosto nije mogla snimiti totalno smeće, tako da JURASSIC WORLD na kraju ispada kao šljakerski film koji nije mnogo inspirisan ali je u principu dobacio do neke minimalne radne norme.

* * 1/2 / * * * *

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TV Review: 'True Detective,' Season 2

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JUNE 12, 2015 | 05:00AM PT
   
Brian Lowry
TV Columnist
@blowryontv
Those expecting anything approaching the magic conjured by the original Matthew McConaughey-Woody Harrelson pairing should immediately temper their enthusiasm for "True Detective's" second season. Impeccably cast around its marquee stars, the new plot possesses the requisite noir-ish qualities, but feels like a by-the-numbers potboiler, punctuated by swooping aerial shots of L.A. courtesy of new director Justin Lin, whose intense close-ups bring to mind a Sergio Leone western. Although generally watchable, the inspiration that turned the first into an obsession for many seems to have drained out of writer Nic Pizzolatto's prose, at least three hours into this eight-episode run.

Somehow, the first installment managed to take TV's most venerable genre and put a fresh coat of paint on it, thanks to the intoxicating mix of McConaughey's unorthodox, philosophizing cop, its grisly crime and the time-bending narrative. Here, Pizzolatto more straightforwardly plows ahead, featuring four disparate characters whose paths begin to intersect only near the end of the first hour.

SEE MORE:Watch: 'True Detective' Teasers Hint at Time Jumps, Betrayal

The quartet features three cops and one criminal, the last played by Vince Vaughn, whose character, Frank Semyon, is desperately pursuing a land deal that will allow him to go legit. Still, a complication, in the form of a dead body, threatens to derail those plans, while creating an awkward alliance among a boozing detective (Colin Farrell, somewhat playing against type), a brooding highway-patrol motorcycle cop (Taylor Kitsch) and a sheriff's detective (Rachel McAdams), each of whom sports a constipated look indicative of a painful past, a personal secret, a bad attitude or some combination of all three.

There's a bit of happenstance in what unites them, which helps explain why the premiere requires considerable patience. Indeed, if ever a high-profile series called for a binge model to get past the producers' decision to slowly tease out plot, this would be the poster child.

Once the ball gets rolling, though, the new "Detective" feels increasingly mundane — in tone and style, a bit like a lesser Michael Mann movie stretched out in episodic form. Part of that might have to do with the necessity of serving the multiple leads, at the expense of the focus on two that the first enjoyed. While this all might converge in a way that knocks your socks off, there's marginal evidence of things really heating up until after July 4.

SEE MORE:Colin Farrell Talks 'True Detective' Season 2 at Maui Film Festival

In the process, Pizzolatto — whose directing partner on the first, Cary Fukunaga, has taken his distinctive vision and moved on — delivers a hard-boiled but cliched view of L.A., framed by overhead views of tentacle-like freeways and ugly power plants. The cops' journeys yield encounters with scheming actresses, ghoulish clinics for the rich, underground clubs and hippy-dippy spiritual retreats, set against a backdrop of money and corruption.

None of the shortcomings are necessarily the fault of the stars, who are saddled with a heaviness and gloom that pervades the entire production. As noted, there are first-rate actors down to the fringes — James Frain, W. Earl Brown, Lolita Davidovich, Abigail Spencer, David Morse and Kelly Reilly as Frank's wife among them — reflecting all the trappings of a prestige project, even if what emerges doesn't initially scale those heights.

REVIEW:'True Detective'

Vaughn has the juiciest role out of the gate as the cornered crook, but as with everything else, his distinctive speech pattern feels pallid compared with McConaughey's monologues, developed before anyone thought to try selling cars with them.

Having seen this much, there's certainly a sense of curiosity regarding where the story ends up, and a relatively short commitment to reach the finish line. And expecting Pizzolatto to catch lightning in a bottle again, starting from scratch with a new directing team and cast, was perhaps simply too much to ask.

For HBO, the anticipation the first go-round engendered qualifies as a high-class problem. Although the gap between seasons one and two isn't severe enough to merit the sort of angst in which these characters are mired, "True" fans might still come away feeling let down, if not downright blue.


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ma ovaj tip na metakritiku daje 100 bodova Igri prestola i Brejking Bednicima, očigledno se drogira!

Čim je pomenuo Manna ja sam osetio da će sve biti dobro. Mada odavno je nejasno što HBO lepo ne pozva Manna da snimi TRUE DETECTIVE...


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Šta bi bilo da je Boban Knežević upisao dramaturgiju?

http://www.novipolis.rs/blog/28630/o-knjizevnom-liku.html



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Quote from: crippled_avenger on 12-06-2015, 19:37:10
Šta bi bilo da je Boban Knežević upisao dramaturgiju?

ne bi je završio.

Quote from: crippled_avenger on 12-06-2015, 19:37:10
Šta bi bilo da je Boban Knežević upisao dramaturgiju?

http://www.novipolis.rs/blog/28630/o-knjizevnom-liku.html



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Quote from: crippled_avenger on 12-06-2015, 19:26:08
Čim je pomenuo Manna ja sam osetio da će sve biti dobro.

iz tvojih usta u seulske uši!

Pogledao sam ENTOURAGE Douga Ellina, produžetak popularne HBO serije bioskopskim sredstvima. Ellin i ekipa su se na neki način postarali da ovaj film uslovno može da se gleda bez predznanja o seriji ali teško da će zanimati ikoga izvan kruga fanova.

Što se fanove tiče, s druge strane, oni svakako dobijaju svoju dozu "kako je dobro videti te opet" susreta sa omiljenim likovima, u filmu koji zapravo ima arc polovine sezone, sabijene u jedan flm.

Pored likova iz serije, Ellin sa saradnicima uspeva da očuva i šarm dramaturgije iz serije, i rekao bih da uspeva da ga dosta uspešno prenese u bioskopsku formu. Akcenat nije na zapletu već na junacima, njihovim dilemama i načinom na koji izlaze na kraj sa njima.

Za razliku od mnogih serija koje se ulupavaju držeći se filmske dramaturgije, ENTOURAGE zapravo funkcioniše prilično dobro oslanjajući se na ono što ga je karakterisalo kao seriju. Za razliku od pete sezone kojoj filmsko ubrzavanje radnje nije pomoglo i umnogome je umanjilo efekat psiholoških lomova simpatičnih junaka, ovde je to pojačavanje efinasnosti bolje realizovano.

Nažalost, u balansu između filma koji će govoriti o junacima iz ENTOURAGE ali biti autonoman, i priveska za fanove serije, Ellin bira ovo drugo što je možda i prirodno. Ipak, u određenom smislu to nadovezivanje na seriju u nekim aspektima možda i umanjuje uživanje i fanovima serije. Tu pre svega mislim na celebrity cameo pojave koje postaju same sebi svrha i bivaju dovedene do paroksizma.

Lagao bih ako bih rekao da nisam bio zabavljen ovim filmom, ali možda ja i više verujem u Vincea i načina na koji je priča o njemu pričana od samih autora. ENTOURAGE je pružio dosta ali mogao je možda pružiti još i više.

Kao fan serije mogao bih mu dati * * * ali * * 1/2 / * * * * je realan domet, u najboljem slučaju.

Britanski majstor Roger Michell režirao je pozorišnu postavku drame Joe Penhalla BIRTHDAY a potom je adaptirao i u televizijsku dramu za Sky. Penhallova drama smeštena je u alternativnu stvarnost u kojoj muškarci kao i žene mogu da budu da trudni, naravno sa određenim anatomskim specifičnostima.

Penhallov postupak se oslanja na dosta uobičajen i oproban koncept - iracionalna premisa tretira se apsolutno racionalno, pa tako i ovde imamo inverziju rodnih uloga, imamo muške neuroze prepletene sa trudničkim, ženske prepletene sa onim svežih očeva, i na sve to dodat je sloj kritike državnog zdravstvenog sistema, iako je NHS i dalje ponos Britanije.

Penhallov koncept je pametan, dobro postavljen, Michellova režija je očekivano vešta i u radu sa glumcima (podelu predvodi Stephen Mangan) i u vizuelnoj artikulaciji sa dosta pokreta kamere. Nažalost, na kraju ipak nema nekog jasnog i šireg idejnog dometa u ovom delu. Njegov rezultat je najjači u stvaranju ubedljivih psiholoških portreta unutar apsurdne premise. U tom smislu, čini mi se da je pozorišna predstava možda slabiji medijum za ovu priču od televizije.

U pozorištu je ovo konvencionalna duo drama ali na televiziji, to poigravanje apsurdom i realizmom može dati bolje rezultate.

Stari u buregdžinici Lajbah
http://www.rts.rs/page/magazine/ci/story/421/Музика/1952042/,,Лајбах"+у+Пјонгјангу+није+изненађење.html

Gledali smo.    Ta majica!!!!!!!!!


Inače:

11 Incredible Secrets About The Making Of Back To The Future

K.Dž. Un se zaista trudi da pomogne 
North Korea claims it has cure for MERS, Ebola and AIDS

Quote
SEOUL, South Korea (AP) — North Korea says it has succeeded where the greatest minds in science have failed.

The authoritarian, impoverished nation better known for pursuing a nuclear program despite global criticism announced Friday it has a drug can prevent and cure MERS, Ebola, SARS and AIDS.
The secretive state did not provide proof, and the claim is likely to provoke widespread skepticism.
The official Korean Central News Agency said scientists developed Kumdang-2 from ginseng grown from fertilizer mixed with rare-earth elements. According to the pro-North Korea website Minjok Tongshin, the drug was originally produced in 1996.
"Malicious virus infections like SARS, Ebola and MERS are diseases that are related to immune systems, so they can be easily treated by Kumdang-2 injection drug, which is a strong immune reviver," KCNA said.
North Korea shut out foreign tourists for half a year with some of the world's strictest Ebola controls, even though no cases of the disease were reported anywhere near the country, before lifting the restrictions earlier this year.
It is believed to be struggling to combat diseases such as tuberculosis, and respiratory infections are among its most common causes of death, according to the World Health Organization.
North Korea trumpeted the same drug during deadly bird flu outbreaks in 2006 and 2013.
The North's claim comes as rival South Korea fights an outbreak of MERS that has killed two dozen people and sickened more than 160 since last month. There is no vaccine for the disease.

Pa, realno izolacija je najbolja prevencija a prevencija je najbolji lek za zarazne bolesti.


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Brent Lang
Senior Film and Media Reporter
@BrentALang
Box office reporting too often focuses on data and results that have nothing to do with whether or not a movie is a hit or a miss.

One of the great absurdities of this type of coverage is that it is dominated by a horse race mentality that studios both privately ignore and publicly encourage.

The folly of this approach was on full display this weekend when "Jurassic World" "won" the weekend with a $102 million take, edging by "Inside Out," which had to settle for a measly $91 million. That happens to be the biggest-ever opening for an original film, crushing the $77 million high-water mark set by "Avatar" in 2009.

"'Inside Out' would have been number one in any other weekend," notes Phil Contrino, vice president and chief analyst at BoxOffice.com. "At the end of the day, it doesn't matter. Being number one is overrated."

Still, "Jurassic World" gets to proclaim in television spots and newspaper ads (are those still a thing?) that it is the "number one movie in America." "Jurassic World's" victory ends Pixar's streak of consecutive number one openings, a record it had maintained with each of its previous 14 pictures. But the end of an era doesn't mean much.

"There are no losers in this one-two punch," said Paul Dergarabedian, senior media analyst at Rentrak. "What movie is number one is a distinction without a difference."

The focus on rankings obscures the fact that "Inside Out" is a critical and commercial triumph on a scale few films match. "Inside Out" ranks as the second-biggest debut in Pixar history, putting it squarely between "Toy Story 3's" $110.3 million bow and ahead of 2013's "Monsters University's" $82.4 million opening.

"Where you finish doesn't matter that much," noted Dave Hollis, Disney's distribution chief.

He noted that "Frozen" debuted in second place before going on to become Disney's biggest animated release with a global haul of nearly $1.3 billion.

"Where ['Frozen'] finished on its opening weekend had no baring on its impact to the culture," said Hollis.

The genre-defying story of a girl's emotional inner turmoil has a 98% "fresh" rating on Rotten Tomatoes, making it the best reviewed Pixar release since "Toy Story 3," which went on to pick up a best picture nomination. While Pixar has yet to have a bomb on its resume, "Inside Out" may be its boldest, ballsiest venture since "Wall-E" dazzled audiences with its near-silent first act. It's a picture that unfolds largely in an adolescent's mind as she struggles to come to terms with her family's decision to uproot and move to San Francisco. In the words of Slate's Dana Stevens, "Inside Out" is unafraid to show that "growing up is both a grand triumph and an irreversible tragedy." That's a kind of dichotomy that most kids movies would never attempt to unwind, with all due respect to "The Penguins of Madagascar."

Too often, box office reporting gets reduced to rankings instead of profitability. Just look at some of the number one films this year. They include both genuine blockbusters such as "Furious 7″ and duds and disappointments such as "Focus" and "Chappie." That's to say nothing of "Tomorrowland," which came in first over Memorial Day, but cost so much to make it will result in a reported $140 million write down. In the process, the achievements of films like "Kingsman: The Secret Service," which picked up $403.8 million on an $81 million budget, get overshadowed by films such as "Fifty Shades of Grey," which opened hot before cooling down fast.

Box office headlines are often reduced to what film "trumps," "triumphs over" or "races past" a rival. But analysts and executives argue that some blockbusters can be the proverbial rising tide that lifts all boats.

"The big business for 'Jurassic World' did more to help 'Inside Out' succeed than it acted as an impediment," said Hollis. "Having a great experience at the movies is what brings people back."

Beyond the rankings, there's the problem of box office milestones. Studios happily churn out releases, announcing that this or that film has passed the $100 million mark, the $200 million barrier, and the $300 million hurdle, but too often pundits fail to contextualize that figure. So, yes, it's lovely that "Mad Max: Fury Road" has earned $336.7 million, except for the fact that Warner Bros. spent $150 million to make the movie and countless millions more to market it. "Mad Max: Fury Road" may make a profit, but math would suggest it hasn't yet — studios get roughly 50% of ticket sales domestically and a more variable percentage of overseas grosses.

While China, for instance, is hailed as the movie business' great savior, a recent investor presentation by executives from the National Association of Theatre Owners noted that most of the money stays in the People's Republic. Though U.S. studios generated $2.16 billion at the Chinese box office in 2014, those companies took out only 25% of those receipts, amounting to roughly $540 million. Somehow that critical context got glossed over in the rush to talk up Chinese ticket sales.

In general, our fixation on victors and losers, boom and bust markets, and gaudy numbers that ignore a picture's price tag is bad for anyone hoping to draw conclusions about the overall health of the entertainment industry.

This is all a roundabout way of saying that while "Inside Out" didn't beat "Jurassic World," it's still a box office winner.


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Stari o hororu

http://horor-srbija.com/intervju-dimitrije-vojnov-dramaturg-i-kriticar/



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ima li nade za zombi crnogorce, meni je to bolje od Malog Buda

Taj projekat se stalno oživljava i nanovo umire. U svakom slučaju, bilo bi greota da ne bude na srpskom i to mu ponajviše smanjuje šanse...


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Adrian Grenier Will Cameo In The Aquaman Movie Under One Condition