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

Prve žive slike iz BLOOD FATHERa

http://www.canalplus.fr/c-cinema/c-emissions-cinema-sur-canal/pid6311-l-hebd-hollywood.html



Sent from my iPhone using Tapatalk

Quote from: Meho Krljic on 26-06-2015, 06:27:44
Adrian Grenier Will Cameo In The Aquaman Movie Under One Condition

sjajan odgovor


Sent from my iPhone using Tapatalk

O različitim pristupima dramaturgiji...

http://www.beforeafter.rs/kultura/dve-letnje-dramaturgije/


Sent from my iPhone using Tapatalk

QuoteZanimljivo je da u poslednje vreme baš na Netflixu serije sve češće pate od te filmske dramaturgije

Kod Daredevila je ovo takođe izraženo. Moguće je da je ovo samo posledica činjenice da Netflix serije nisu stvarno televizijska produkcija sa svim njoj odnosnim parametrima (gledanost, šer, njima sukladno dopisivanje scenarija), da nastaju u drugačijim uslovima i da ćemo za koju godinu serije za TV i serije za Internet doživljavati kao dva odvojena medija.

Znaš kako, ni ove elitne cable serije ne zavise od rejtinga per se i snimaju se slično filmu. To korigovanje scenarija u toku emitovanja je više mit nego istina čak i za network serije koje su do polovine sezone u startu već snimljene pre emitovanja sa potencijalnim wrapom ako se ne naruči full run. Tako da to nije razlog sigurno. Jedino što bi moglo pravdati to rešenje jeste binge watching ali i masa regularnih serija se bingewatchuje.


Sent from my iPhone using Tapatalk

Pogledao sam INSIDE OUT Petea Doctera, novi Pixarov film koji predstavlja novi korak napred za ovaj studio, za koji ne možemo reći da je proteklih godina bio u stagnaciji, ali sasvim sigurno jeste koračao utabanim stazama nastavaka i nekim "tipičnijih" animiranih radova koji se nisu znatnije razlikovali od konkurencije, došavši do tačke da ga Warner po relevantnosti i prestigne svojim LEGO filmom (kada doduše Pixar nije ni imao svog takmaca) odnosno da mejnstrim Disney produkuje par ozbiljnih konkurenata, tu pre svega mislim na WRECK-IT RALPH.

INSIDE OUT je po mnogo čemu sličan WRECK-IT RALPHu, pre svega po toj ideji da se kroz animaciju "prodre unutar" nekog nefilmičnog procesa i da se on vizuelno i narativno razloži. U slučaju INSIDE OUT reč je o misaonim procesima, o emocijama, čovekovoj ličnosti, sećanjima, podsvesti i sl. Mnogi kritičari navode da je dekonstrukcija koju vrši INSIDE OUT nešto najradikalnije što je do sada urađeno u mejnstrim animaciji, s tim što ja ne bih išao toliko daleko jer je WRECK-IT RALPH otišao podjednako daleko u svetu gejminga, čak bih rekao da je RALPH otišao možda i nekoliko koraka dalje u ideološkom tumačenju ove pojave.

INSIDE OUT je s druge strane film koji ima veći efekat jer je naprosto okrenut nečemu što je svima prepoznatljivo, to je ljudski um, a kroz simpatične likove, maštovite situacije i pre svega jako lucidne analogije uspeva da prikrije svoj zapravo mehanicistički pristup objašnjenju mentalnih procesa. Emocije koje su glavni likovi filma u jednom trenutku postaju karakteri koji imaju character arc, menjaju se, odnosno kroz promenu konteksta postaju korisne čak i onda kada su naizgled destruktivne poput Tuge.

Ako bih govorio o čisto kinestetičkim kvalitetima, ali i emociji, RALPHa bih smestio ipak iznad INSIDE OUT. Međutim, gledano sa strane, INSIDE OUT je film sazdan isključivo od pameti, više od pojmova nego od "čisto filmskih" ideja i u tom smislu, Docter je postigao neke neverovatne stvari.

Naime, INSIDE OUT je maštovit, razigran i dinamičan, podjednako deci kao i odraslima, ali nikada ne gubi iz vida dve dimenzije - jednu edukativnu za decu i jednu vrlo elegičnu, gotovo opipljivo sentimentalnu, za odrasle. Tematizovanje pameti kroz pametna rešenja, deluje kao pravi spoj i INSIDE OUT jeste sve ono što se očekuje od Pixara ali je i jedna intelektualna igra u isto vreme gde se utrkuju pojmovi iz psihologije sa maštom autora.

Otud na polju čiste "univerzalnosti" teme, INSIDE OUT automatski nadmašuje RALPHa, premda, ostaje antilakanovski, odnosno izostavlja ideologiju iz svog diskursa, što je možda i dobro. Um je prikazan kao kolektiv koji čine emocije, sećanja, imaginarni prijatelji, kreatori snova, ali odlikuje ga neverovatno odsustvo socijalne mobilnosti. Zaplet se dotiče upravo tog segmenta, dve emocije, mismatched Radost i Tuga ispadaju iz centra u kome treba da se nalaze i odlaze u pogrešan deo uma, ali kada zajedno sa sobom u idejni centar junakinje pokušaju da povuku njenog imaginarnog prijatelja koji je osuđen na obsolenciju, ne samo da u tome ne uspeju, već njegovo žrtvovanje predstavlja sine qua non njihovog povratka na mesto gde treba da budu, i očuvanja poretka. Dakle, um je konzervativno mesto čiji razvoj ne može biti dostignut kroz mobilnost elemenata, naprotiv, svaka moilnost elemenata uzrokuje patologiju, duševnu bolest, ali može se odvijati kroz učenje kako da se nedostaci pretvore u prednosti.

U tom pogledu zanimljivo je kako se manifestuje sazrevanje junakinje. Naime, na početku je osnovni cilj svih emocija da ona bude srećna, i sve to remeti Tuga koja takođe želi da bude srećna i zato je aktivna, mada ne kao negativac, već više kao trapavi sidekick. Trenutak u kome Tuga precizno može da interveniše za dobrobit junakinje predstavlja trenutak njenog sazrevanja, izlazak iz depresivne epizode, ulazak u stanje "aktivne depresije", funkcionisanje uprkos brojnim nezadovoljstvima.

Taj kraj u kome se rekonstituiše um bez socijalne mobilnosti u kome se čak i najnežnija sećanja moraju žrtvovati za dobrobit celine ličnosti, kao i sazrevanje koje čini sposobnost da se tuga stavi u funkciju očuvanja ličnosti, daje filmu finu dozu desnog "realizma", što je gotovo paradoks ako imamo u vidu da je ovo maštoviti animirani film koji bi valjda trebalo da nas neprestano uveseljava i raduje.

Docter je pokazao ogroman talenat svojim ranijim filmovima, među kojima je i UP, vizuelni omaž Dobrici Ćosiću i Zoranu iz TITO I JA, pa samim tim ni ne treba previše objašnjavati sa koliko je veštine realizovan INSIDE OUT. Međutim, ono što ovaj film prikazuje i vrlo složena emocija koju stvara i zaključci koje donosi, vrlo su zreli i ne podilaze publici.

Otud je INSIDE OUT upravo onaj primer filma kakav bi trebalo da iziskuje ogromna finansijska i stručna ulaganja kakva samo Holivud može da napravi, a prečesto ih razbacuje na besmislice, bez značenja i mogućnosti da traju. Srećom, za razliku od Birdovog TOMORROWLANDa, Docterov film je uspeo da iskomunicira i sa publikom. Dakle, Disneyev ovogodišnji pokušaj da mu blokbasteri koketiraju sa smislom nije dva puta kažnjen.

INSIDE OUT upravo stoji kao opozicija onome što je predstavljao FURY ROAD, i to još jasnije predstavlja od TOMORROWLANDa.

* * * * / * * * *

Pogledao sam L'ENLEVEMENT DE MICHEL HOUELLEBECQ Guillaumea Niclauxa, reditelja čiji sam rad upoznao kroz pokušaj komercijalne afirmacije u ekranizaciji Jean-Christophe Grangea. Taj film mi je bio grozan a nažalost ni ovaj nije mnogo bolji ali je svakako znatno zanimljiviji.

Niclaux je napisao i režirao film u kome Houellebecq igra samoga sebe. Posle režije, očigledno je da Houellebecqa zanima dalje bavljenje filmom, kroz glumu, o čemu svedoči i potonje igranje u filmu NEAR DEATH EXPERIENCE. Zanimljivo je kako su francuski pisci skloni ulasku u svet filma daleko izvan okvira scenaristike. Još je zanimljivije to kako se od nove generacije možda ponajbolje u tome snašao Beigbeder, ne samo zato što mu je 99 FRANCS režirao Kounen već i u svojoj samostalnoj režiji oko koje je dosta oklevao upravo imajući u vidu Houellebecqov rediteljski fijasko. Međutim, ova Beigbederova režija kudikamo je bolja od njegovih recentnih romana, i radije bih gledao njegov novi film nego čitao novi rukopis.

Houellebecq u ovom filmu igra samog sebe, u prenaglašeno deglamurizovanoj fazi, kada je izgubio zube, i njegova pojava na ekranu bez ikakve sumnje nosi određeni bizarni magnetizam koji verovatno treba pripisati njegovoj reputaciji, ali opet ne bih rekao da u njemu i inače nema neke filmičnosti.

Ono što je okosnica filma jeste komični triler o otmici Houellebecqa od strane nesposobne bande nejasnih motiva, koja postepeno sve više počinje da pokazuje fascinaciju njime kao sagovornikom, kao arbitrom za razna pitanja, i nikada ne prestaje da ga tretira kao zvezdu što dostiže svoj vrhunac kada mu angažuju prostitutku kao rođendanski poklon.

Ideja da nečiji status javne ličnosti spontano transcendira jasnu kriminalnu nameru otmičara i da oni umesto koristi od otkupa, počinju da imaju korist od komunikacije sa tim čovekom, prilično je interesantna. Međutim, Niclaux uspeva tek da zagrebe ovršinu te teme.

Za početak, iako Houellbecq bez ikakve sumnje deluje kao nadahnut interpretator igrajući samoga sebe, ni u jednom trenutku ovaj film ne izlazi izvan okvira internog vica čija ciljna grupa mora poznavati opus ličnosti o kojoj film govori. Dakle, Michel Houellebecq iz naslova nije uspeo da bude ime lika već samo ime ličnosti čiji fanovi treba da gledaju ovaj film.

Niclaux je dakle propustio priliku da izgradi nešto više na bazi ready madea koji nudi sam Houellebecq. Samim tim, ovde imamo delo u kome se protagonista na pogrešan način izdiže iznad celine i na kraju sve deluje kao vrlo bizaran vid samopromocije i pokušaja da se ukoreni imidž neuglednog samotnjaka koji Houellebecq gaji, naročito u poslednje vreme.

Ovaj film korespondira i sa autorefleksijom njegovog tada aktuelnog romana MAPA I TERITORIJA, čak su neki zaključci o Thierry Joncquetu preneti iz romana u film, unutar monologa o nekadašnjoj vitalnosti francuskog krimića.

Niclaux se u formalnom pogledu drži nekog osušenog, festival-ready realizma, sa kadriranjem koje deluje kao da je kamera pre svega postavljena da bi zabeležila autentičnost junaka. Međutim, to je paradoksalna pozicija jer Houellebecq jeste stvarna ličnost ali okolnosti u kojima se našao, uprkos dobrim pokušajima, ne uspevaju da opravdaju taj prizvuk "autentičnosti" za kojim Niclaux traga.

U određenom smislu, ovaj film ima i critic-proof dimenziju, kao da je reč o ENTOURAGEu za intelektualce. I zbilja, u ovom filmu imamo upravo to, intellectual-porn razgovore, apstraktan zaplet, satiru, sve one obavezne figure koje bi intelektualac mogao očekivati.

Taj trenutak u kome Houellebecq pristaje da od pisca postane celebrity desio se mnogo ranije, ali ovim filmom je to bez ikakve sumnje ozvaničeno.

Jedino što nemamo jeste ona supstanca koju bi Houellebecq ili intelektualistički film morao da nam ponudi, i zato ENTOURAGE ostaje pošteniji produkt od ovoga.

* * / * * * *

ma dobar je to film, baš uvrnuta zaebancija, kako samog sebe Uelbek dekonstruiše. Možda je to traljavo sa dramaturške, rediteljske, uopšte sa strane branše, al mislim da su laici mogli da se zabave

The actor and Oscar-winning director of "Braveheart" has signed on as a consultant on "The Bombing," a World War II epic currently filming in eastern China. Bruce Willis has a role in the movie, which is slated for a spring 2016 release, and producers say they are on the verge of casting another prominent Hollywood actor in the movie, which centers on Japanese air raids on the city of Chongqing.


Shooting has already begun near the eastern city of Ningbo; the film's Chinese producers said Gibson would travel to China next month and serve as "supervisor of direction." "The Bombing" is directed by Xiao Feng and will feature Hong Kong actors Nicholas Tse and William Chan, along with South Korea's Song Seung-heon.


Besides Gibson, several other Oscar winners, including 85-year-old cinematographer Vilmos Zsigmond ("Close Encounters of the Third Kind") and sound editor Richard L. Anderson (who received a special Academy Award for "Raiders of the Lost Ark") have also been recruited as advisors on the movie.

Gibson will travel to China before heading to Australia for pre-production work on his next directorial effort, "Hacksaw Ridge," said his publicist, Alan Nierob. "Hacksaw" too is a World War II-era story, starring Andrew Garfield as a medic and conscientious objector who was awarded the Medal of Honor.

Shi Jianxiang, the primary investor on the project, said he was plowing about $56 million into the production. Gibson was invited to participate because he is "resourceful and smart," is "very interested in that piece of history" and "proposed many ideas we appreciate," said Shi, who is chairman of the board of Shanghai Kuailu Investment Group.

Gibson's name will no doubt be used to help market the film in China; he is well known here for "Braveheart" and numerous other movies. Producers are also hoping to secure international distribution for "The Bombing," though no deals have yet been made.

An increasing number of Hollywood directors are attaching themselves to Chinese productions. "Fast & Furious 6" director Justin Lin served as producer and writer on "Hollywood Adventures," a $30-million Chinese comedy set in Los Angeles that hit mainland theaters on Friday.

Last week, "Twilight" director Catherine Hardwicke announced in Beijing that she had signed on to direct "Loulan," a historical romantic epic set in what is now western China. That film is a U.S.-China co-production backed by Village Roadshow Pictures Asia.

Nicole Liu in the Times Beijing bureau contributed to this report.

Pogledao sam TED 2 Setha MacFarlanea. Nažalost, nastavak nije na nivou prvog filma, što zvuči kao opšte mesto da u ovom konkretnom slučaju nije došlo do vrlo jasnih promena u odnosu na original koje su uzrokovale slabiji rezultat. Za početak TED 2 je predug, sa ogromnim brojem dugih digresija koje funkcionišu manje ili više, ali naprosto ne zaslužuju mesto u filmu. TED 2 se previše opušta, i u tom smislu liči na stonersku komediju koja nije tehnički komplikovana za realizaciju, kao da je Ted još jedan od rediteljevih ortaka a ne skupi specijalni efekat. Međutim, ako imamo u vidu ambicije, onda ta lenjost prosečne stonerske komedije deluje kao priličan problem.

Posle mlako prihvaćenog ali zapravo jako dobrog A MILLION WAYS TO DIE IN THE WEST MacFarlane se pomalo izgubio u svojim autorskim pretenzijama i TED 2 jasno pokazuje da se od vrlo preciznog autora animacije pretvorio u reditelja koji ne mari previše za ritam i trajanje filma.

Određeni nivo samopouzdanja sigurno bazira na samom Tedu koji je sjajan lik, na velikoj duhovitosti koja postoji i u scenariju i u njegovoj vkalnoj interpretaciji, ali nažalost, nije svaki humor na nivou bioskopskog i u tom smislu, TED 2 u nekoliko navrata luta u pravcu sitkoma.

Sam koncept u kome se Ted javlja kao protagonista sudske drame o ljudskim pravima je zanimljiv, iako MacFarlane zapravo ponajmanje pravi satiru sudske drame i kulture ljudskih prava a neki detalji, u finalu na ComicConu deluju kao priličan larpurlartizam i nepotrebni omaž klasicima neme komedije.

Jedini krupan problem koji sam imao sa prvim filmom bilo je preveliko referisanje na aktuelne pop kulturne fenomene. TED 2 nastavlja tim putem, samo mi se čini da je ovog puta otišao u još dublju efemernost.

Ukupno uzev, TED 2 je prijatno gledalačko iskustvo, ali kao film ima puno problema koji u spoju sa efemernošću pop kulturnih referenci daju daleko slabiji rezultat od mnogo disciplinovanijeg i preciznijeg prvog filma.

* * 1/2 / * * * *

http://youtu.be/fOscwNs5ROk

Čuo sam da je Josh Trank imao neke probleme sa drogom tokom rada na F4. Ne čudi me od saradnika Maxa Landisa.

Pogledao sam ALLELUIA Fabrice du Welza. Rekao bih da se u poslednjih par filmova igra sa formama koje ne poznaje baš najbolje, s tim što se u filmu ALLELUIA nije propisno izbrukao kao u onom strašnom policijskom filmu. Ovog puta du Welz pravi film u maniru francuske erotske drame sedamdesetih, ukršten sa chabrolovskim trilerom i u pogledu tog retro štimnuga jasno aludira na Novi talas, i na njihovu fascinaciju Amerikom, ali se nadovezuje i na ovaj dosta opskurni talas američkog indie horora u kome se za potrebe strave i užasa priziva epoha.

ALLELUIA je baziran na dve konvencije koje su nespojive. S jedne strane film se dešava danas, i junaci se upoznaju preko dating sajta, vozila koja se kreću gradovima su savremena itd. a dizajn i odnosi među likovima su potpuno retro i jedino su mogući pod pretposavkom da ljudi žive najmanje kao u sedamdesetim. Situacije u koje junaci du Welzovog filma upadaju su najmanju ruku arhaizirane, i tu on pravi nedovoljnu modernizaciju istinite priče na koju se oslonio.

Da je ovo neki istočnoevropski film, i da je reč o nekom debitantu ili manje afirmisanom autoru, sigurno da bi i moj utisak bio povoljniji. Međutim, autor du Wlezovog kalibra bi morao biti inventivniji i maštovitiji, ne samo od pokušaja da kroz puku invokaciju epohe stvori atmosferu već i da radnju pomeri od nabrajanja seksualnih odnosa glavnih junaka odnosno glavnog lika i žena koje zavodi. Film u tom pogledu ume da zaliči na rad nekog umornog erotomana, poput Lordana Zafranovića u poznoj fazi, ili nekog nemaštovitog debitanta.

ALLELUIA je film krupnih planova koji uspeva da povremeno jako dobro funkcioniše na nivou pojedinačnih scena. Ipak, kao celina ne uspeva da bude ubedljiv. Tome doprinosi i kriptični kraj.

* * / * * * *

Evo šta javlja zapadnjačka propaganda:


Kim Jong Un Executes Designer Of His New Airport Because He Didn't Like It

QuoteNorth Korean dictator Kim Jong Un posed for one of his trademark glossy photo shoots in Pyongyang's new airport this week - but a different story had unfolded behind the scenes.

Kim smiled as he posed next to chocolate fountains and espresso bars - but in in private was so furious at 'defects' that he had the airport's designer killed.

Executions are common in North Korea, with senior officials being killed for offences as minor as watching South Korean soap operas.

Airport design chief Ma Won Chun disappeared late last year, and is thought to have been executed after Kim voiced his dissatisfaction with the airport, according to The Diplomat.

Chun was executed for 'for corrupt practices and failure to follow orders.'

Kim Jong Un issued a statement saying, 'Defects were manifested in the last phase of the construction of the Terminal 2 because the designers failed to bear in mind the party's idea of architectural beauty that is the life and soul and core in architecture to preserve the character and national identity.

'It is necessary to finish the construction of the terminal to be an icon of Korea, the face of the country and the gateway to Pyongyang.

How Television Won the Internet

Quote
RUPERT MURDOCH recently appointed his son James chief executive of 21st Century Fox, prompting the obvious question: How can a guy whose main credential is a silver spoon compete with Silicon Valley's meritocratic coders and entrepreneurs?
I suggested that disconnect in a testy interview with James several years ago, when he was running his father's satellite broadcasting company, BSkyB. "You must be incredibly stupid," he said with trademark Murdoch dismissiveness. "Look around you, man. It's television!"
Supremely confident that the Murdochs were old-media toast, I looked around, and it was in fact perplexing that BSkyB had, despite the Internet, become a colossus — one of the biggest businesses in Europe.
Another most counterintuitive fact: No matter the skyrocket valuations of digital companies, and the hype and press — much of it coming from digital media itself — people still spent more time watching television than they did on the Internet, and more time on the Internet was spent watching television. Indeed, the period since my conversation with Mr. Murdoch — a period in which almost everyone in media has uttered the words "digital is the future" — has been one of the biggest growth periods in the history of television.
Online-media revolutionaries once figured they could eat TV's lunch by stealing TV's business model — more free content, more advertising. Online media is now drowning in free. Google and Facebook, the universal aggregators, control the traffic stream and effectively set advertising rates. Their phenomenal traffic growth has glutted the ad market, forcing down rates. Digital publishers, from The Guardian to BuzzFeed, can stay ahead only by chasing more traffic — not loyal readers, but millions of passing eyeballs, so fleeting that advertisers naturally pay less and less for them.
Meanwhile, the television industry has been steadily weaning itself off advertising — like an addict in recovery, starting a new life built on fees from cable providers and all those monthly credit-card debits from consumers. Today, half of broadcast and cable's income is non-advertising based. And since adult household members pay the cable bills, TV content has to be grown-up content: "The Sopranos," "Mad Men," "Breaking Bad," "The Wire," "The Good Wife."
Looking for irony? Television, once maniacally driven by Nielsen ratings, has gone upscale as online media becomes an absurd traffic game. TV figured out how to monetize stature and influence. Nobody knows how many people saw "House of Cards," and nobody cares. Mass-market TV upgraded to class, while digital media — listicles, saccharine viral videos — chased lowbrow mass.
So how did this tired, postwar technology seize back the crown? With old-fashioned businessmen in charge. When YouTube threatened to become a TV piracy site, television, led by Viacom's 84-year-old Sumner Redstone, dragged Google, YouTube's owner, into a painful spiral of litigation. A throwback like Mr. Redstone turned YouTube from pirater to licenser. He made Google his customer. Advertisement
Continue reading the main story  Advertisement
Continue reading the main story   Advertisement
Continue reading the main story Television, not digital media, is mastering the model of the future: Make 'em pay. And the corollary: Make a product that they'll pay for. BuzzFeed has only its traffic to sell — and can only sell it once. Television shows can be sold again and again, with streaming now a third leg to broadcast and cable, offering a vast new market for licensing and syndication. Television is colonizing the Internet. Continue reading the main story  Recent Comments     Joey 1 day ago  Netflix is television without the inane adverts. Instead of an hour to watch a program you can watch in 44 minutes and w netflix you can...
    Laura 1 day ago  Content is King.
    Francis McInerney 1 day ago  I'm not quite sure I get this.  A liner media, TV, is dissolved into a non linear app soup -- an Information Singularity -- and it's still a...
   

   
• See All Comments

Streaming video is now not only the hottest media draw — 78 percent of United States Internet bandwidth — but, defying the trend, many of its creators are getting paid. Netflix bills itself as a disrupter of television — except that it is television, paying Hollywood and the TV industry almost $2 billion a year in licensing and programming fees.
The latest pseudo-crisis is the flight from the box — cord-cutting — but more people than ever are consuming television, and paying for it as they please on whatever screen. Well-produced, highly structured narrative video entertainment is so profitable that everybody in digital media — frustrated by tumbling ad rates and rising traffic demands — wants to be streaming premium video (i.e., television). Yahoo just cut its first big sports deal. Mark Zuckerberg of Facebook says that his company's future is video. Just last week, BuzzFeed and the Huffington Post announced their new TV plans.
The fundamental recipe for media success, in other words, is the same as it used to be: a premium product that people pay attention to and pay money for. Credit cards, not eyeballs.
In 2014, Rupert Murdoch, at his son James's urging, made a bid to buy Time Warner, quite clearly the opening shot in a battle that now involves all the major content owners, the cable Goliaths and the digital platforms — a struggle for primacy in the video industry. It's not the digital revolution. James Murdoch is right. Look around you man, it's the television revolution!
Michael Wolff, a media columnist, is the author of "Television Is the New Television: The Unexpected Triumph of Old Media in the Digital Age."

fala bogu da je i neki mainstream medij to priznao

samo dvije greškice, TV nije povratila krunu, nikad je nije ni izgubila

i TV nije ''postwar'' tehnologija, u stvari, internet je mnogo više postwar tehnologija nego TV

Pogledao sam COME BACK TO ME Paula Leydena, novi američki horor televizijskog nivoa realizacije koji uprkos nekim relativno zanimljivim idejama kojima počne da se poigrava u drugoj polovini, ne uspeva da se nametne kao delo čija gluma i egzekucija nadilaze televizijski Lifetime film. Leyden očigledno nema ekipu koja bi mogla da izgura vrhunski mejnstrim a nema dara ni za neko arty rešenje koja bi ga dovelo na indie liniju. Otud, ono što definitivo zaslužuje poštovanje jeste opredeljenje reditelja da snimi horor koji se dešava danas i koji se na vadi na indie dovitljivost, iako samo finale nosi sebi neki goofiness na liniji TALES FROM THE CRYPT. Rezultat je nažalost samo podsetnik koliko je teško snimiti dobar repertoarski horor.

* * / * * * *

What It's Like to Be a Sex Addict

Quote

Sex addiction may not be officially recognized by the "psychiatrist's bible," but people with the condition say it's all too real.

It seems like sex addiction makes headlines every time a public figure is caught in a cheating scandal. Tiger Woods: sex addict. Anthony Weiner: sex addict. Charlie Sheen: sex addict. It's often unclear whether their admissions are true or simply an excuse for infidelity. But for the estimated 12 million Americans who are said to suffer from sex addiction and the psychologists who treat them, it's a serious mental health issue.
"Sex addiction is a compulsive behavior ranging from watching pornography to engaging in sexual activity to get 'high' or numb from reality," Dr. Stacy Seikel, chief medical officer of RiverMend Health's Integrated Recovery Services in Atlanta, tells Yahoo Health.
This may sound like a safe, even enjoyable addiction, especially compared with other compulsions — such as abusing drugs or alcohol — that can lead to hospitalization and death. But sex addiction is just as persistent and doesn't necessarily achieve the pleasure or comfort most expect from a sexual experience. "Breaking the addiction can cause anxiety, insomnia, poor concentration, depression, irritability, mood swings, and isolation," Seikel says. "The person is seeking a feeling or sense of satisfaction that may not be met."
So who are sex addicts? Though it's often thought that sex addiction is the result of sexual trauma or something that affects creepy old men who watch porn in dimly lit basements, in reality, sex addiction can affect anyone. And cybersex addiction is rapidly growing in women, Seikel says.
Take Erica Garza, for example. "I feel like I always knew I had a problem with sex and masturbation, even from the very beginning of my sexual exploration when I started having orgasms at age 12," Garza, a professional writer and essayist who has struggled with sex addiction, tells Yahoo Health. "I admitted openly that I had an addiction and needed help when I was in my late 20s and met my husband."Garza's addiction started with masturbation, which helped her escape her emotions. "I was raised Catholic, and never heard other girls talking about masturbation. I immediately associated my sexual excitement with shame," she says. "Then I discovered porn, and my tendency to reach for these habits became more immediate and intense, and my shame grew bigger and more powerful. I believe these thoughts of shame are what fueled my sexual habits into actually becoming addictions over the years."
Before her marriage, Garza says, she took part in destructive behavior and acted out in relationships. This is not unusual among sex addicts: According to Seikel, cheating; lack of intimacy; multiple, random sex partners, unsafe sex, and compulsive masturbation are common characteristics.
The American Psychiatric Association first recognized sex addiction in 1987 in the third edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-III). According to the definition in this manual, sexual addiction as a mental disorder — clinically called hypersexuality disorder — is distress about a pattern of sexual conquests involving people who exist only as things to be used. Sexual addiction was removed from the manual update in 1994, and re-introduced in 2013 as a condition that requires more research — though it's not considered an official diagnosis.
This opened doors for doctors, psychologists, and researchers who don't see sex addiction as a diagnosable disorder, but rather a concept based on the fear of sex, to speak out. "People with high libido, internalized conflicts over sex, relationship conflicts over sex, LGBTQ orientations, and coping skills that use sex for stress management, are often labeled as sex addicts," says David Ley, a clinical psychologist in Albuquerque and author of The Myth of Sex Addiction. "This is inappropriate, stigmatizing, and shaming." 
Garza, on the other hand, thinks it's wrong for people to think that she does not have an addiction or that her symptoms are not the same as those with diagnosable disorders. "I can listen to someone talk about their sex addiction, their alcohol addiction, or their drug addiction and, while the 'drug of choice' is different for each, so much else — the underlying emotions of shame and isolation — are similar," she says. "It all comes back to escape." She thinks it's brave for anyone, celebrity or not, to admit to their addictions because it could help end the taboo.
Sex addicts, like Garza, often see therapists so the behavior does not run their lives. Cognitive behavioral therapy is an effective therapeutic method, Seikel says. But according to Ley, there is no evidence that sex addiction can be cured or treated, or even needs to be. He says: "No one in the history of the world has ever died or got sick when they didn't get to have sex."
Garza is just one of the many who lives with sex addiction, and each person's experience is surely unique. To find out some other candid descriptions of what it's like to live with the addiction, we teamed up with Whisper, the free app that allows users to share their secrets anonymously. Check them out below:

Dakle, Amerika je potrošila više od trilion dolara (bilion, u našim parama), razvijajući F-35, "najskuplje oružje ikada napravljeno" a test pilot sad veli:


Test Pilot Admits the F-35 Can't Dogfight

QuoteNew stealth fighter is dead meat in an air battle



A test pilot has some very, very bad news about the F-35 Joint Strike Fighter. The pricey new stealth jet can't turn or climb fast enough to hit an enemy plane during a dogfight or to dodge the enemy's own gunfire, the pilot reported following a day of mock air battles back in January.
"The F-35 was at a distinct energy disadvantage," the unnamed pilot wrote in a scathing five-page brief that War Is Boring has obtained. The brief is unclassified but is labeled "for official use only."
The test pilot's report is the latest evidence of fundamental problems with the design of the F-35 — which, at a total program cost of more than a trillion dollars, is history's most expensive weapon.
The U.S. Air Force, Navy and Marine Corps — not to mention the air forces and navies of more than a dozen U.S. allies — are counting on the Lockheed Martin-made JSF to replace many if not most of their current fighter jets.
And that means that, within a few decades, American and allied aviators will fly into battle in an inferior fighter — one that could get them killed ... and cost the United States control of the air.


The fateful test took place on Jan. 14, 2015, apparently within the Sea Test Range over the Pacific Ocean near Edwards Air Force Base in California. The single-seat F-35A with the designation "AF-02" — one of the older JSFs in the Air Force — took off alongside a two-seat F-16D Block 40, one of the types of planes the F-35 is supposed to replace.
The two jets would be playing the roles of opposing fighters in a pretend air battle, which the Air Force organized specifically to test out the F-35's prowess as a close-range dogfighter in an air-to-air tangle involving high "angles of attack," or AoA, and "aggressive stick/pedal inputs."
In other words, the F-35 pilot would fly his jet hard, turning and maneuvering in order to "shoot down" the F-16, whose pilot would be doing his own best to evade and kill the F-35.
"The evaluation focused on the overall effectiveness of the aircraft in performing various specified maneuvers in a dynamic environment," the F-35 tester wrote. "This consisted of traditional Basic Fighter Maneuvers in offensive, defensive and neutral setups at altitudes ranging from 10,000 to 30,000 feet."


The F-35 was flying "clean," with no weapons in its bomb bay or under its wings and fuselage. The F-16, by contrast, was hauling two bulky underwing drop tanks, putting the older jet at an aerodynamic disadvantage.
But the JSF's advantage didn't actually help in the end. The stealth fighter proved too sluggish to reliably defeat the F-16, even with the F-16 lugging extra fuel tanks. "Even with the limited F-16 target configuration, the F-35A remained at a distinct energy disadvantage for every engagement," the pilot reported.


"Insufficient pitch rate." "Energy deficit to the bandit would increase over time." "The flying qualities in the blended region (20–26 degrees AoA) were not intuitive or favorable."
The F-35 jockey tried to target the F-16 with the stealth jet's 25-millimeter cannon, but the smaller F-16 easily dodged. "Instead of catching the bandit off-guard by rapidly pull aft to achieve lead, the nose rate was slow, allowing him to easily time his jink prior to a gun solution," the JSF pilot complained.
And when the pilot of the F-16 turned the tables on the F-35, maneuvering to put the stealth plane in his own gunsight, the JSF jockey found he couldn't maneuver out of the way, owing to a "lack of nose rate."
The F-35 pilot came right out and said it — if you're flying a JSF, there's no point in trying to get into a sustained, close turning battle with another fighter. "There were not compelling reasons to fight in this region." God help you if the enemy surprises you and you have no choice but to turn.
The JSF tester found just one way to win a short-range air-to-air engagement — by performing a very specific maneuver. "Once established at high AoA, a prolonged full rudder input generated a fast enough yaw rate to create excessive heading crossing angles with opportunities to point for missile shots."
But there's a problem — this sliding maneuver bleeds energy fast. "The technique required a commitment to lose energy and was a temporary opportunity prior to needing to regain energy ... and ultimately end up defensive again." In other words, having tried the trick once, an F-35 pilot is out of options and needs to get away quick.


And to add insult to injury, the JSF flier discovered he couldn't even comfortably move his head inside the radar-evading jet's cramped cockpit. "The helmet was too large for the space inside the canopy to adequately see behind the aircraft." That allowed the F-16 to sneak up on him.
In the end, the F-35 — the only new fighter jet that America and most of its allies are developing — is demonstrably inferior in a dogfight with the F-16, which the U.S. Air Force first acquired in the late 1970s.
The test pilot explained that he has also flown 1980s-vintage F-15E fighter-bombers and found the F-35 to be "substantially inferior" to the older plane when it comes to managing energy in a close battle.

Najzad neko razume naš problem Mehmete! (razočaranost u F-35)


Sent from my iPhone using Tapatalk

Quote from: crippled_avenger on 27-06-2015, 21:44:21
Docter je pokazao ogroman talenat svojim ranijim filmovima, među kojima je i UP, vizuelni omaž Dobrici Ćosiću i Zoranu iz TITO I JA, pa samim tim ni ne treba previše objašnjavati sa koliko je veštine realizovan INSIDE OUT. Međutim, ono što ovaj film prikazuje i vrlo složena emocija koju stvara i zaključci koje donosi, vrlo su zreli i ne podilaze publici.

* * * * / * * * *

Meni je ovo uz Mad Max-a i It Follows najbolji film ove godine.

Još priče o Severnoj Koreji:

North Korean defector lifts lid on world's most secret state

Quote

              LONDON (Thomson Reuters Foundation) - As a schoolgirl in North Korea, Hyeonseo Lee was forced to watch executions, denounce her friends for fabricated transgressions and dig tunnels in case of a nuclear attack.
But Lee and her classmates grew up convinced they lived in the "greatest nation on earth" run by a benevolent god-like leader whom they loved in the way many children love Santa Claus.
It wasn't until she left North Korea at the age of 17 that she began to discover the full horror of the government that had fed her propaganda since birth.
              In a memoir published in London on Thursday, Lee gives a rare insight into the bizarre and brutal reality of daily life in the world's most secretive state.
"Leaving North Korea is not like leaving any other country. It is more like leaving another universe," she writes in The Girl With Seven Names. "Nearly 70 years after its creation it remains as closed and as cruel as ever."
              Lee, now a human rights campaigner living in South Korea, grew up in Hyesan next to the Chinese border. She had a close family with an array of colorful relatives including "Uncle Opium" who smuggled North Korean heroin into China.
              All family life took place beneath the obligatory portraits of North Korea's revered founder Kim Il-sung and his son Kim Jong-il which hung in every home. Failure to clean and look after them was a punishable offence.
              At supper Lee had to thank "Respected Father Leader Kim Il-sung" for her food before she could pick up her chopsticks.
              Her family were well regarded and her father's job in the military meant they were not short of food. But brutality and fear were everywhere.
The faintest hint of political disloyalty was enough to make an entire family - grandparents, parents and children - disappear. "Their house would be roped off; they'd be taken away in a truck at night, and not seen again," she says.
              As Lee entered her teens her world was turned upside down when her father was arrested by the secret police. He was later released into a hospital. He had been badly beaten and died soon afterwards. The circumstances remain unclear.
              Lee says one of the tragedies of North Korea is that everyone wears a mask, which they let slip at their peril.
"Kindness towards strangers is rare in North Korea. There is a risk to helping others," she writes. "The state made accusers and informers of us all."
              Public executions were used as a way to keep everyone in line.
Lee witnessed her first execution at seven. After Kim Il-sung's death in 1994 she recalls a spate of executions of people who had not mourned sufficiently.
              FAMINE KILLS ONE MILLION
              In the mid-1990s North Korea suffered a famine which killed an estimated one million people.
Lee's first inkling of the crisis came when her mother showed her a letter from a colleague's sister living in a neighboring province.
              "By the time you read this the five of us will no longer exist in this world," it read, explaining that the family were lying on the floor waiting to die after not eating for weeks.
Lee, who still believed she lived in the world's most prosperous country, was stunned. A few days later she came across a skeletal young mother lying in the street with a baby in her arms. She was close to death, but no one stopped.
Beggars and vagrant children began to appear in the town and corpses turned up in the river. "The smell of decomposing bodies was everywhere," Lee said, speaking at a book launch at Asia House in London.
              In her book she describes taking a train through a "landscape of hell" to visit a relative. She saw people roaming the countryside "like living dead". In the city of Hamhung she recalled people "hallucinating from hunger" and "falling dead in the street".
The government blamed the famine on U.S. sanctions, but she later learnt it had more to do with the collapse of the Soviet Union which had been subsidizing North Korea with food and fuel.
Power cuts became increasingly frequent. At night Lee would stare across the river to the twinkling lights of China and wonder at the contrast with the darkness that shrouded her own city.
              Her fascination was fueled by the Chinese satellite TV she watched illegally after blacking out the windows.
One winter night in 1997 she slipped out of the house and crossed the narrow stretch of frozen river by her home with the help of a friendly guard. Lee's defection started off as a prank - she simply wanted to see what China was like.
              When her mother finally tracked down her daughter to a distant relative's home in China, her first words on the phone were "Don't come back."
              SAFETY IN CHANGE OF NAME       
But China was not safe either. Lee lived in fear of being unmasked and deported back to North Korea, where she would have been imprisoned or even killed.
              To survive she changed her name numerous times - hence the book's title.
She had many close shaves: she narrowly escaped an arranged marriage, almost became enslaved in a brothel, was kidnapped by a gang of criminals and caught and interrogated by police.
              Lee managed to persuade the officers she was Chinese, thanks to her mastery of the language and her quick wits.
After years on the run she reached South Korea where North Koreans are given asylum. But she missed her family desperately.
In a daring mission she returned to the North Korean border to rescue her mother and brother and guide them 2,000 miles through China into Laos and from there to South Korea – a journey beset by disaster from start to finish.
              Since settling in South Korea, Lee has become an advocate for North Korean human rights and refugee issues, addressing the United Nations and the U.S. Committee on Human Rights. Her fans include U.S. chat show host Oprah Winfrey.
              The name Lee uses today is not the one she was given at birth, nor one of those forced on her by circumstance.
"It is the one I gave myself, once I'd reached freedom," she writes. "Hyeon means sunshine. Seo means good fortune. I chose it so that I would live my life in light and warmth, and not return to the shadow."

Mehmete, video si kako je onaj Hardenov protagonista priznao da je lagao...

Pogledao sam TERMINATOR GENISYS Alana Taylora. Ako imamo u vidu da pored dva kanonska, na određeni način ja volim i preostala dva Terminatora, i da sam u tom pogledu u apsolutnoj manjini, mislim da moja užasnutost ima posebnu težinu. Ovo je jedan od onih filmova za koje ti nije jasno kako su se omakli ne autorima već producentima. David i Megan Ellison, bogati brat i sestra koji svoj kapital investiraju u filmove poznati su po upmarket projektima, i uprkos tome što on radi komercijalu a ona indie, ovde su potpisani zajedno. Ipak, teško je naći bilo koje drugo opravdanje za ovaj film osim onog praktičnogg - želeli su da snime bilo šta kako bi zadržali prava i eventualno snimili još jednu televizijsku seriju pre nego što se sve neumitno vrati Cameronu.

Alan Taylor posle drugog THORa definitivno uspeva još gore da se izbruka, u ovom filmu on ne samo da ne uspeva da na ekranu pokaže 150 navodnih miliona uloženih u film već isporučuje niz mlakih, statičnih scena, televizijskog kalibra, sa sve statistima koji već u drugom planu deluju potpuno izgubljeno i nekoordinirano. Na početku filma među autorima potpisan je Alexander Witt second unit reditelj i DP i to je uvek znak da je film neka vrsta krpeža. Sada je tek jasno kolika...

Film je dakle jezivo režiran i prilično loše izgleda u pogledu realizacije, od praznih scenografija, do slabog mizanscena i specijalnih efekata koji su osrednji, premda nisu ni imali priliku da se nametnu kao bolji iz prostog razloga što nisu iskorišćeni na bolji način.

TERMINATOR GENISYS je prvi film u serijalu u kome Terminator nije neuništiv, nema tu horor dimenziju nesavladive, strašne pretnje. Ovde je i T-1000 i jedan još noviji nano-terminator prilično savladiv, prilično jednostavan za usporavanje, a T-101 i T-800 su već savladana tehnologija, metak ili dva na pravom mestu su dovoljni da ih savladaju.

Na sve to treba dodati scenario koji ovoga puta stavlja akcenat na vremeplov i praktično retconuje sve što do sada znamo o serijalu kako bi mogao da recastuje sve junake osim Arnolda koji nije ni za šta jer se pretvorio u babu i samo majstor može nešto da izvuče iz njega, a Taylor to nije.

TERMINATOR GENISYS se kreće kroz ceo niz treš postavki, od slabo rekonstruisanih omaža prvom delu, pa sve do raznih nenamerno smešnih hronomocijskih detalja koji su izazivali kolektivni smeh u sali. U nekim scenama, predlozi gledalaca su bili lucidniji od onoga što su pružili autori.

Patrick Lussier i Laeta Kalogridis nisu pisci visokog kalibra, pa ni ne čudi da je rezultat ovakav scenario. Ipak, činjenica da na pisanju nisu bila angažovana jača imena, sugeriše da je ovaj projekat realizovan na brzinu. Najveća ironija ove situacije je da GENISYS u ovoj retro sezoni verovatno neće proći ni upola onoliko loše koliko zaslužuje.

Ipak, posle ovog filma je jasno da TERMINATOR po prvi put u istoriji franšize nije tretiran kao prestižni projekat na kome su autori dali sve od sebe. Samim tim, bilo bi dobro da se sa daljim uništenje franšize sada i zastane. Mada, možda će baš ovaj pad motivisati producente da se na neki način isprave u sledećem delu.

* 1/2 / * * * *

Na pilot epizodi za televizijsku seriju STRIKE FORCE okupila se vrhunska ekipa, producent FRENCH CONNECTIONa Phillip D'Antoni, reditelj Barry Shear i odlični glumci, među kojima je bio i mladi Richard Gere.

Nažalost, serija o odeljenju na narkotike u NYPDu nije zaživela a pilot je ostao u formi televizijskog filma. Shear uspeva da ga realizuje energično, mišićavo, uz odlične scene potere, sjajnom upotrebom lokacija i miljea vezanog uz njujoršku marginu, i šteta je što sam zaplet nije više struktutiran kao film već kao televizijska epizoda.

Srećom, Shearova režija je dovoljno vešta da na kraju sam STRIKE FORCE u vizuelnom pogledu apsolutno može proći kao energični mali prljavi TV film, i nekako ipak sakriva svoje pilot-korene.

Quote from: crippled_avenger on 03-07-2015, 21:48:55
Pogledao sam TERMINATOR GENISYS Alana Taylora

Tayloru je posle Dark World trebalo oduzeti vozačku dozvolu za režiranje filmova.

A posle ovog, očekivanog debakla (ne znam ni da li da se potežem u bioskop, što je stvarno zastrašujuće uzevši u obzir da sam sve Terminatore gledao u bioskopu) ostaje samo da odgovoriš na pitanje je li gore ovo ili Maggie?

Uh, Mehmete, ti si veliki filozof jer umeš da postaviš pitanje... Pa svakako je ipak Genisys gori jer Maggie je bar kompetentno relaizovan u smislu kako je snimljen...

Ja imam svakako nastranu ambiciju da pogledam Maggie jer je plot filma očigledno ukraden iz igre The Last of Us (daću ti je jednom da je poigraš, jedna od najboljih PS4 igara), a Terminator... Mislim, meni je i Salvation bilo prihvatljivo bioskopsko iskustvo. I nekako... Arnold ovde, pa još tako mator... Privlači me to kao spoj.

North Korea's stunning new airport puts many American airports to shame

Quote

Last month, the North Korean capital of Pyongyang opened the doors to the country's newest airport terminal: Pyongyang Sunan International Airport.
The new international terminal will replaced the airport's old terminal facility, which dates back to the early days of the Cold War. So far, details surrounding the facility, called "Terminal 2," are few. However, North Korea's state-owned media agency released a series of photos of the new facility.

Na linku ima milijun slika.

Exclusive test footage of Nic Cage suiting up for Tim Burton's never-made 'Superman Lives'

A evo i finalnog trejlera za Ant Mana:


http://youtu.be/3C5y02QYj78

Oni kritičari koji su ga već videli zvuče dosta pozitivno.

Quote from: Meho Krljic on 03-07-2015, 22:25:56
Mislim, meni je i Salvation bilo prihvatljivo bioskopsko iskustvo. I nekako... Arnold ovde, pa još tako mator... Privlači me to kao spoj.

Da, i mene. Plus, posto ga svi toliko pljuju, toliko sam snizio kriterijume da ce mi biti OK...

Quote from: milan on 04-07-2015, 09:50:14

Quote from: Meho Krljic on 03-07-2015, 22:25:56
Mislim, meni je i Salvation bilo prihvatljivo bioskopsko iskustvo. I nekako... Arnold ovde, pa još tako mator... Privlači me to kao spoj.

Da, i mene. Plus, posto ga svi toliko pljuju, toliko sam snizio kriterijume da ce mi biti OK...

Moram da se ubacim,,,,I ja sam fan svih dosadasnjih Terminatora, svaki je dao nesto novo...i vizuelno lepo, sve stoji....
ali ovaj 5 deo...kasting me je ubo u srce...i oba oka....jednostavno bolno..
ajd nekako Emilija,,,ok Svarci....ali ova dvojica ....misliiiiiim, jebemmmmuuuuuu,,,,krsh, lom, katastrofa....mene recimo odusevilo Anton Yelcin za Kajl Risa!
Spasilo mi film.....cak sam i Bejla svario,....
Ovo ovde je zlo!

Nema tog snižavanja kriterijuma da se podnese GENISYS...

Pogledao sam BORGRIKI Olafa de Fleura Johannessena, islandski doprinos filmografiji o srpskim gangsterima na severu Evrope. Nažalost BORGRIKI ne dobacuje ni do SNABBA CASHa ni do PUSHERa iako Srbe prikazuje relativno ubedljivo. Nažalost, osnovni eksperiment kome se okrenuo Olaf bio je sabijanje scena u niz kratkih radnji, plus eliptična struktura u kojoj se dosta manipuliše ne samo onim što biva neprikazano već se ekonomiše i sa otkrivanjem svih detalja publici. Intervencija na strukturi scene, bila je sasvim dovoljna a ova intervencija na opštoj strukturi pripovedanja ispostavila se kao lobovanje i višak koji je stvorio dodatni pritisak na gledaoce.

U vizuelnom pogledu, film je uredan i vrlo sveden, mahom baziran na krupnim planovima i opšte uzev na uskom kadriranju, sa akcentom na enterijere.

U domenu scenarija, umešanost srpskih i britanskih gangstera osvežava ovu islandsku priču. Uostalom, ovo nije jedini islandski gangsterski film. Ipak, zbunjujuća je činjenica da su prava na ovaj film prodata Jamesu Mangoldu jer Holivud je odavno ispričao priče ovog tipa i glavno osveženje nije u priči već u Olafovom stilu i etničkom aspektu.

* * / * * * *

Stari je bio vizionar kada je ispisao ove redove 30. januara.

http://starikadar.blogspot.com/2015/01/vazno-je-zvati-se-a.html?m=1


Sent from my iPhone using Tapatalk

Pogledao prvu epizodu The Flash i, eh... najprevalentniji utisak je da nije trebalo ovo da krenem da gledam nakon odgledanog Daredevila jer bi obrnuti redosled verovatno dao mnogo bolji utisak o Flešu. DC je vrlo hvaljen za svoje serije, Smolvil, a pogotovo Erou pa je i Fleš dobio ozbiljno dobre reakcije i kritike, ali nadam se da to znači da se serija posle prve epizode ozbiljno doteže. Da se razumemo, ja Endrjua Krajsberga izuzetno cenim, mislim da je to jedan ozbiljan profesionalac koji je svetu stripa doneo televizijsku ekspertizu i vice versa, a Džef Džons je DCjev glavni kreativni oficir, dakle, da se ja pitam - nema dva bolja čoveka od nih dvojice za ovaj teleplej, ali prva epizoda se naprosto sapliće sama preko svojih nogu da nas zatrpa ekspozicijom, poređa sve aktere gde treba, odradi ceo oridžin stori, uvali i trening montažu i arhineprijatelja, uvede lav interest pa ga grubo istrgne ispred naših očiju a sve to napisano didaktički i sa premalo prostora da se ekspoziciji da dovoljno karaktera, pa onda režirano profi ali suvo i bez stila. Ako bih je poredio sa Daredevilom, ono za šta je Marvel iskoristio 13 epizoda (a mogao je desetak), ovde je stalo u jednu. Takođe, The Flash ima mnogo bolje specijalne efekte od Daredevila ali su u Daredevilu režija, montaža i to malo CGIja koji se koristi mnogo efektnije upotrebljeni, kad treba, gde treba i koliko treba da jednoj vrsno pričanoj priči dodaju začin. Ovde sam uživao u odličnim scenama trčanja ali sve ostalo je delovalo kao da prelećem preko storiborda umesto da gledam seriju. Kast mi se dopada pa se zaista nadam da u narednim epizodama autori malo staju na loptu i dopuštaju likovima da dišu.

Flash je ljimunada, daredevil je crno vino

    Takve komparacije ne podstiču mi previše želju da nastavim sa konzumacijom Fleša.

Quote from: Meho Krljic on 06-07-2015, 23:16:23
Pogledao prvu epizodu The Flash i, eh... najprevalentniji utisak je da nije trebalo ovo da krenem da gledam nakon odgledanog Daredevila jer bi obrnuti redosled verovatno dao mnogo bolji utisak o Flešu.

Sto pre prestanes da pravis poredjenja, to bolje - ovo su dve veoma razlicite serije. Mislim, povezuje ih jedino to sto su superherojske serije, ali sve ostalo ne moze da se poredi. A nisu pravljenje ni za istu publiku, sto si i sam video. Meni su i jedna i druga serija odlicne - Fles je sve bolji kako odmice sezona, a dopalo mi se i to sto nekako imaju muda da isprobaju sve moguce koncepte i negativce u toj prvoj sezoni. Sta da ti kazem kad se pred kraj pojavljuje Gorila Grod.

Za Groda je jasno da mora da se pojavi do kraja sezone jer se i u ovoj prvoj epizodi posle havarije u STAR labsu vidi između ostalog razvaljen i prazan kavez sa tablicom na kojoj piše Grod. 

Ali hajde, istrajaću ako kažeš da se poboljšava kako odmiče. Kad sam odgledao celu prvu sezonu Agents of SHIELD, koliko ovo može da bude teško? 

ma dobar je Flash, munja je on....
my 2 cents, Posljednja sjezona Arrowa je izlazila uporedo sa Flashetom, pa su se crossoverisali,milina, ko da citas stripove,na momente meni Flash bio spinofff Arrowa.....
Ako nisi ogulio Arrrow posljednju zezonu,gledaj ih onda obe sezone po datumima izlaska uporedo...
Pazi ja koji prvi navijam da se sezone trebaju oguliti u cugu, ovde bih spojio i ogulio obe simultano...veci uzitak....

Da, nisam nažalost gledao ni jednu sezonu Arrowa pa sam tu hendikepiran. A pojavio se Oliver već u prvoj epizodi, da bude jasno gledateljima šta mogu da očekuju.  Videću koliko će me Flash privući. Prva epizoda, kako rekoh, nije me kupila ali hrabri me to da su kasnije bolje. Računam da odgledam makar do pola pre nego što donesem odluku da li da prelazim na Sense8...

Quote from: Meho Krljic on 07-07-2015, 10:30:31
Kad sam odgledao celu prvu sezonu Agents of SHIELD, koliko ovo može da bude teško? 

Onda neces imati problema.
Inace, meni je SHIELD u drugoj sezoni bio odlican - kao da su promenili sve ljude iza kamere (od showrunnera do kuvarice kafe), iako zaista nisu. Stvarno, kao da je druga serija u pitanju.

Ako vec poredimo serije flash je gledljiviji og agenata shtita (gde sam stao na trecoj epizodi prve sezone)

Enviado desde mi SGP312 mediante Tapatalk

Gledljiviji je. Druga epizoda je bolja od prve mada Nutter i dalje režira kao da je u pitanju Sport Bili. Ali bolje je, da.

Ja još nisam načeo Flasha jer mi već godinu dana stoji još par epizoda druge sezone Arrowa da savladam i onda planiram da ih ređam po datumu emitovanja... Ali, podela mi deluje odlično po onom prvom crossoveru iz Arrowa...

Pogledao sam THE LIGHTSHIP Jerzyja Skolimowskog, holivudski pokušaj čuvenog poljskog autora u kome radi unutar okvira euroameričke koprodukcije, pa tom prilikom ima i Brandauera u glavnoj ulozi što dosta nateže uverljivost cele priče iako mu je junak američki moreplovac nemačkog porekla.

Film je smešten u 1955. i govori o posadi broda-svetionika koji otima grupa trojica razbojnika-psihopata koju čine glumački All-Starovi Robert Duvall, William Forsythe i Arliss Howard. Nažalost, kao što Brandauer naprosto ne deluje kao američki državljanin nemačkog porekla, tako ni Duvall ne uspeva da obuzda svoju šmirantsku potrebu da isprazno nadgradi svoj lik, odlazeći u pravcu groteske.

THE LIGHTSHIP naravno nije, ili barem nije isključivo, hostage thriller. Ovo je film koji adaptira roman Siegfrida Lenza i pokušava da govori o očevima i sinovima, krivici koja ljude podjarmi za ceo život, o usamljenosti i izolaciji. skolimowski je svestan svih ovih motiva ali umesto da snimi višeslojan film, on ga paradoksalno raslojava, i na kraju ova kamerna drama na kraju biva nekoherentna.

Nekoliko rediteljskih rešenja pokazuju da je Skolimowski veliki majstor. Nažalost, na nivou celine ono što se oseća od njega jeste opšta atmosfera upečatljivog rediteljskog rukopisa koji luta.

* 1/2 / * * * *

Ben Affleck is in talks to star in, co-write and possibly direct a standalone "Batman" movie.

Sources have confirmed to Variety that Affleck is in negotiations to pen the solo "Batman" film with Geoff Johns after he has finished directing "Live By Night," which is set to begin production this November.

Warner Bros. had no comment.

Additional details are still under wraps other than the fact that Affleck will star as the caped crusader, a role that he will first assume in "Batman v Superman: Dawn of Justice," as well as "Justice League," which bows in 2017.

SEE MORE:Ben Affleck's 'Live by Night' Gets Greenlight, November Start Date (EXCLUSIVE)

Given how much time and effort goes into directing, it might be a long while before Affleck puts pen to paper. He's currently focused on getting "Live By Night," based on Dennis Lehane's Prohibition-era crime novel, off the ground.

Affleck is expected to be promoting "Batman v Superman: Dawn of Justice" this weekend at Comic Con in San Diego.

He can be seen next in Warner Bros.' "The Accountant," which bows in January. Affleck is repped by WME.

The news was first reported by Deadline Hollywood.

Pogledao sam BACKCOUNTRY Adama MacDonalda, jedan od onih novih indie pseudo-horora čiju sam dobitnu kombinaciju video do sada puno puta, a ponegde i daleko bolje realizovanu nego ovde. BACKCOUNTRY je survival hror o mladom paru koji je otišao na izlet u šumu i uleteo u nevolje sa velikim medvedom-ubicom. Sve u redu. Jasno je i kako će se priča izlagati. Prvo će to biti vrlo detaljna melodrama a zatim kreće mešavina melodrame, suspensea i krvoprolića.

Međutim, ovo definitivno nije horor, više priča o dvoje ljudi koja u jednom trenutku počinje da postavlja pitanje i njihovog opstanka.

Nažalost, melodrama u ovom filmu srlja iz klišea u kliše, iz odnosa koji gledalac ne želi opet da gleda u sledeći koji mu se gleda još manje. Tu dakle ima svega, početne lažne euforije, prvih sukoba i depresije zbog suočavanja sa opasošću i tako daje i tako dalje.

Kada krenu da se javljaju simptomi opasnog medveda, film nažalost ne uspeva da se prebaci u horor registar iako to nesumnjivo želi i slutnja krvorpolića deluje mlako. Stvari sa medvedom prekasno postaju konkretne i "prava stvar" je praktično ostavljena za treći čin.

Ono što je u celoj ovoj priči najneverovatnije jeste upravo ta melodrama o kojoj govorim sve vreme jer autori pretenduju da BACKCOUNTRY plasiraju kao film "baziran na istinitoj priči". Ako je život zaista do te mere imitirao konvencionalnu dramaturgiju onda je trebalo snimiti meditaciju nad tim problemom - kako je život nekada klišetiziraniji od najklišetiziranijeg scenarija.

MacDonald teži realizmu, kameri sa ramena, i to ne šteti njegovom pristupu ali mu ni ne doprinosi. Film nije vizuelno uzbudljiv ali nije ni glumački u čemu prednjači scena ljubomore na početku filma u kojoj su sve emocije prenaglašene.

Uživanje u ovom filmu sasvim sigurno ima veze sa proporcionalnim gledaočevim znanjem. Ko je gledao više filmova ovog tipa, uživaće manje od ostalih. MacDonald zaslužuje pohvale zbog toga što nije bežao u epohu da bi stvorio užas, a nema sumnje da je on u ovom filmu na kraju krajeva hteo da se osloni na žanr o čemu svedoči već pomenuta nevešta scena ljubomore iz koje je trebalo da proizađe red herring o potencijalnom serijskom ubici. Međutim, puno ubeđenje u priču ovog puta nije imalo pokriće u njenoj supstanci a ni u MacDonaldovom stilu.

* * / * * * *