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

Pogledao sam BRATA DEJANA Bakura Bakuradzea, fikcionalizovanu priču o skrivanju Ratka Mladića u kojoj glavnu ulogu tumači Marko Nikolić kao naslovni general Stanić. Marko Nikolić ne igra Mladića ali priča po mnogim detaljima apsolutno podseća na ono što se zna o njegovom skrivanju. Ambijenti po kojima se, koliko znamo, Mladić skrivao rekonstruisani su i data je nekakva slika atmosfere u kojoj se to dešavalo.

Bakuradzeov film prijatno iznenađuje time što nije antisrpski, doduše ne može se reći ni da je prosrpski per se, zapravo to je film koji nema nikakvu određenu ideološku agendu. Štaviše, to je priča o čoveku koji se krije, mogao bi se definisati kao studija karaktera, premda ne mogu reći da sam do kraja BRATA DEJANA dobio neki snažniji utisak o liku progonjenog generala. U tom smislu, BRAT DEJAN je sličan filmovima poput ORDINARY PEOPLE, pokušava da nam pokaže "običnost", prozaičnost situacije u kojima se nalaze ljudi umešani u neobične istorijske događaje.

Bakuradze je snimio tipičan primer slow cineme, sa dugim kadrovima u kojima junaci rade svakodnevne stvari, vode neke banalne svakodnevne razgovore, žive život. Njegov film ne samo da nije hičkokovsko parče kolača već se ozbiljno postavlja pitanje da li je i to parče života takvo kakvo je moglo biti kudikamo dinamičnije prikazano.

Paradoksalno, čini mi se da Bakuradzeov pristup svojstven modernim evropskim rediteljima koji su jako diskretni, bez nekih zaokruženih priča ili poenti, mnogo više može pružiti srpskoj publici koja zna o Mladiću nego stranoj. BRAT DEJAN je prikazan u Lokarnu ali slutim da je Bakuradze sa ovim filmom želeo više.

Za stranu publiku u ovom filmu ipak ima premalo konteksta, između ostalog, Stanić je u nekim detaljima previše odmaknut od Mladića da bi bio jasna aluzija za njih, iz vizure stranaca koji neke detalje ne mogu pročitati (poseta kćerkinom grobu, primera radi, šlog itd.) a nije definisano ni da li je on zaista kriv za dela za koja se tereti i da li su ta dela zločin. Hvala Bakuradzeu na tome. Međutim, srpska publika opet pa neće moći da previše ceni ovaj film jer je zaista zamoran u svom postupku, i u pojedinim dijalozima za naše uslove prestilizovan, tu pre svega mislim na scenu susreta generala Stanića i njegovog jataka iz vladajućih klasa.

Simbolika "Gige Popadića" koji odlazi u Hag takođe neće biti razumljiva stranoj publici, niti će moći da ih dotakne kao našu.

Rečju, BRAT DEJAN je film koji zasližuje pohvalu što nije plakatski, ali svojim ukupnim izrazom ishoduje u delu koje nije ni za koga.

* 1/2 / * * * *

Review: 'Deadpool' is the world's most violent and vulgar Bugs Bunny cartoon

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To be honest, I can't believe this movie even exists.

It's not like Deadpool is some impossible to decipher art film, or like the plot is impossible to follow. It's more a case of "Fox has never been this loose or this adventurous with any of their franchise superhero properties, and I'm not sure how anyone convinced them to do this," and if for no other reason, I salute the studio for taking this particular chance.

And while superhero films are enormously popular and the X-Men franchise in general has been a steady performer for the studio, make no mistake: Deadpool represents a genuine roll of the dice. Aside from the R-rating, a first for this franchise, it's also just plain weird. Structurally, I can't think of another film quite like it. It's two scenes as well as some flashbacks and connective tissue. That's it. In one scene, Deadpool attacks a bunch of cars to find a guy. The guy gets away and, in the second scene, threatens Deadpool's girlfriend so they fight. That's it. That's the entire story. It is almost preposterous how little "plot" there is in the film.

What it has in spades is attitude, and right up until the moment the film began, I was afraid It was going to be so juvenile and filthy that I would end up annoyed by it. Instead, from the very beginning of the opening credits, it is clear that director Tim Miller and screenwriters Rhett Reese and Paul Wernick have crafted something deeply silly that isn't remotely interested in playing by the conventional rules of what we've come to think of as "the superhero genre."

One of the things that is becoming clear as we enter another year and kick off another slate of very different films all united by superpowered characters in brightly-colored costumes is that this is less of a genre and more an overall umbrella under which all sorts of different stories can be told. What Deadpool does well is demonstrate that the voice with which these stories are told is what really matters, and more than ever before, I am convinced that if you're going to bother buying one of these properties to turn into a film, then the single best decision you can make is to actually use the character that people will recognize. For so long, comic book films made the fundamental mistake of buying characters, then immediately changing anything and everything recognizable about them. The perfect example of that would be the version of Deadpool who showed up in X-Men Origins: Wolverine. He's pretty much as fundamentally wrong as a screen version of a character can be. Looking at how different this is, even with the same person playing the part, it's clear how easy it is to miss the mark, and how important it is to start simply by honoring what already works.

After all, Deadpool is about as weird a character as there is in the Marvel stable, at least in the way he behaves. He's Bugs Bunny with swords and a healing factor, constantly talking, constantly snarking, and not taking anything too seriously. Because he doesn't, we don't, and in a film like that, you can't tell us the standard issue "superhero has to save the world" story, and thank god for it. Ultimately, this is the story of a bad guy with a dumb nickname who is very upset that Deadpool won't call him by his dumb nickname. That's it. Those are the stakes. There's 100% no chance the world ends in this film. It's never a threat. This is entirely personal, and that's fine. I'm more interested as a result. By making the stakes so small, it gives the film permission to let Deadpool be as self-interested and ridiculous as he wants to be. Reynolds simply isn't as good at sincerity as he is when he's playing absurd, and the film plays to those strengths. Every time the movie even vaguely threatens to get serious, either a joke or a sight gag or simply the way Reynolds delivers a line explodes that seriousness, and the movie's better for it.

Karan Soni scores some big laughs as Dopinder, a cab driver who helps Deadpool on a few occasions, and TJ Miller's never been given an easier lay-up of a role than he has as Weasel, who is the bartender at the mercenary club where Wade Wilson originally picks up his assignments. Ed Skrein plays Ajax, the bad guy with the stupid nickname who is part of the project that gives Deadpool his powers. It's not quite the Weapon X program anymore, and before you protest that it undermines the X-Men connection, let me assure you... they couldn't make this any more explicitly an X-Men movie if they tried. Not only do we go to Xavier's mansion at one point, a familiar sight to any fan of the franchise, but we meet a brand-new mutant character in the form of Negasonic Teenage Warhead (Brianna Hildebrand) and spend a good deal of time with Colossus, hilariously voiced by Stefan Kapcic. Colossus is such a great call by the filmmakers, because he's gigantic and super-square and a perfect foil for Deadpool in terms of attitude. Because he's in his metal form for the entire movie, Colossus is entirely CGI, and Digital Domain did a heck of a job with him, as they did with all of the movie's visual FX. I genuinely love every moment Colossus is onscreen, ostensibly trying to recruit Deadpool to join the X-Men, and I hope he's never successful. It's fun to see him out of his element while Deadpool swears and murders people, but I think it would be less fun watching the filmmakers try to tone Deadpool down enough to fit him into a PG-13 conventional superhero film. You know... like in X-Men Origins: Wolverine. One of the things that works in Reynolds' favor in this film is all the time he's tried to be a superhero in the past and failed. He is able to make a near constant stream of jokes about his own misfires, and every one of them only makes him seem more likable.

One of the things that's interesting about the film is the way it paints the relationship between Vanessa (Morena Baccarin, who has never been more appealing in any role) and Wade. "Your crazy matches my crazy," she tells him at one point, and that seems like as great an explanation of love as you're likely to see in a pure popcorn movie. When they meet, they compare hard-luck stories, and immediately see that they are kindred spirits. There's a "romance montage" near the start of the film that features a gag that is both juvenile sex joke and genuinely progressive. What other mainstream superhero film can you think of where the lead character gets pegged, likes it, and it's treated as just one part of a healthy adult sexual relationship? Sure, it's a quick thing and a small thing, but I think one of the reasons I liked Deadpool as much as I did is because it avoided being the nihilistic dick joke that I was afraid it would be. Tim Miller's got a fun, clean visual style, and he knows how to sell a visual joke. The film is positively loaded with background jokes and small details, and I feel like a dummy for not realizing that the entire setting of the film's third act is a sort of Easter egg/tie-in to the Marvel Cinematic Universe.

I'm not sure there's a franchise in Deadpool, because some of what I enjoyed here was the sheer surprise of it all, but I hope it does incredibly well. The message it sends is that you can push this stuff further than the studios have dared so far, and sometimes it pays off to take a chance. Best case scenario: Warner Bros. sees the success of this one and then Suicide Squad does well, and then someone decides to greenlight Robert Gordon's Bizarro screenplay. For now, I'll just marvel at the fact that Fox finally grew the jooblies to let this film happen.

Also, this is now the official Best Stan Lee Cameo ever.

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Film Review: 'Deadpool'

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COURTESY OF 20TH CENTURY FOX
FEBRUARY 6, 2016 | 09:00PM PT
Ryan Reynolds gets the full-throttle wisecracking showcase he deserves in this scabrously funny origin story.

Justin Chang
Chief Film Critic
@JustinCChang
At this point, a movie studio would have to torch its headquarters, donate its merchandising revenues to charity, and produce a seven-hour art film performed in Ukrainian sign language to do something that truly qualified as a subversive gesture. Until then, viewers should gladly submit to the gleefully self-skewering pleasures of "Deadpool," a scabrously funny big-screen showcase for the snarkiest of Marvel's comic-book creations — a disfigured and disreputable mercenary who likes to crack wise, bust heads and generally lay waste to the idea that he's anyone's hero. As a vehicle for the impudent comic stylings of Ryan Reynolds, this cheerfully demented origin story is many, many cuts above "Green Lantern," and as a sly demolition job on the superhero movie, it sure as hell beats "Kick-Ass." And given the resurgence of fanboy interest following a well-received trailer at last year's Comic-Con (plus the benefit of Imax showings), "Deadpool" should show plenty of life at the box office, especially if its well-earned R rating functions less as kiss of death than as badge of honor.

Fast, ferocious and inevitably a bit too pleased with its own cleverness, this Fox-produced offshoot of the "X-Men" series nevertheless can't help but feel like a nasty, nose-thumbing tonic next to the shinier delegations of the Marvel Cinematic Universe, as represented by Disney's "Avengers" franchise (and its various subfranchises) and Sony's not-so-amazing "Spider-Man" movies. Better still, "Deadpool" knows exactly how to use Reynolds, an actor whose smooth leading-man good looks have long disguised one of the sharpest funnyman sensibilities in the business, as fans of "The Proposal," "Definitely, Maybe" and the underrated "Just Friends" can attest.

It's not the kind of star profile that immediately screams "blockbuster" (that's a compliment), and admittedly, Reynolds' peripheral first appearance as Deadpool, in "X-Men Origins: Wolverine" (2009), offered little hint of what he could really do with the role; happily, this wholesale reboot seems to inhabit a superior alternate reality where that dreadful earlier movie doesn't exist. Deadpool does drop a few "X-Men" references here and there, and they're crude and irreverent in the extreme, whether he's joking about fondling Wolverine's privates or dismissing Prof. Xavier as a creepy pedophile — all of which he offers up as evidence of his spectacular disinterest in contributing in any way to the ever-expanding glut of superhero movies.

That's nonsense, of course. Even with its nastier tone, grislier action and more sexually explicit banter, "Deadpool" turns out to be a comic-book enterprise through and through, but served up in a shrewdly self-mocking guise; it pulls off that very postmodern trick of getting away with formulas and cliches simply by pointing them out. The opening credits sequence features what might be described as an honest cast list, even going so far as to introduce first-time feature director Tim Miller as "An Overpaid Tool." That eagerness to break down the fourth wall was present in the original Deadpool comic books by writer Fabien Nicieza and artist/writer Rob Liefeld, and scribes Rhett Reese and Paul Wernick (doing wittier work than you'd expect from their scripts for "Zombieland" and "G.I. Joe: Retaliation") stay true to the same spirit as they cut cheekily between two time frames, using Reynolds' smartass voiceover to paper over the cracks.

Before he turns into an ugly, cynical mercenary named Deadpool, Reynolds' character is a hunky, cynical mercenary named Wade Wilson, who spends most of his time at Sister Margaret's Home for Wayward Girls — a front for the scuzzy dive where his best friend, bartender Weasel (T.J. Miller, "Silicon Valley"), keeps the beer flowing and the weapons moving among his down-and-dirty clientele. It's here that Wade meets a beautiful, gold-hearted prostitute named Vanessa Carlysle (Morena Baccarin, "Homeland," "Gotham"); recognizing each other as damaged kindred spirits, they begin screwing in earnest, zipping and unzipping their way through an extended sex-scene montage that plays out over a year's worth of racy holidays. ("Happy Intl. Women's Day," Vanessa coos as she adjusts her strap-on, though that's about as far as the movie goes in terms of even hinting at Deadpool's famously pansexual appetites.)

Wade and Vanessa are deeply in love, but their bliss proves short-lived when he receives a terminal cancer diagnosis. This being an origin story, his only recourse is to submit to a bizarre experiment performed by the sadistic scientist Ajax (Ed Skrein), ignoring the rule that one should generally steer clear of medical professionals named after Greek warriors and household cleaners. Ajax subjects Wade to a series of increasingly grim procedures, accompanied by hideous torture techniques, in an attempt to force a genetic mutation that will rid him of his cancer. While successful in that regard, the procedures unfortunately also rid Wade of his face, turning him into a bald lump of scar tissue who looks less like Ryan Reynolds and more like a 150-year-old John Malkovich in desperate need of wrinkle cream and sunblock.

Now gifted with Wolverine-style self-healing abilities and an endless lease on life, Wade wants his old body back, and so he dons a rubbery red-and-black suit (the better to hide the bloodstains) and the identity of Deadpool. What follows is a fairly straightforward shoot-and-blow-'em-up revenge picture, starting with a visceral car chase/standoff that occupies much of the film's early going and midsection. "I'm just a bad guy who gets paid to f—k up worse guys," Deadpool snarls in one of his many to-the-camera asides, which he frequently uses to drop jokes about masturbation and defecation, plus random references to the Spin Doctors, "The Matrix," Sinead O'Connor, Judy Blume, the "Taken" movies and any other stray bits of pop-culture effluvia that happen to pop into his mottled, misshapen head.

If it all sounds terribly arch and juvenile, it is. It's also startlingly effective: Somehow, through sheer timing, gusto and verve (and an assist from Julian Clarke's deft editing), Reynolds gives all this self-referential potty talk a delirious comic momentum — reaching a peak when he's trading quips with Blind Al (Leslie Uggams), the wizened, sightless old woman who functions as his caretaker, housekeeper and sparring partner. Additional punching bags turn up in the form of two X-Men allies: Colossus (Stefan Kapicic), basically an overgrown Arnold Schwarzenegger hood ornament, and sullen goth girl Ellie Phimister, aka Negasonic Teenage Warhead (Brianna Hildebrand), whose mutant powers include conjuring massive fireballs and sending angry tweets. The two of them exist mainly to keep Deadpool in line, and also to help him battle Ajax and his impossibly strong lieutenant, Angel Dust (Gina Carano).

But in the end, these supporting players are so much background noise — drowned out, on occasion, by the repetitive sounds of explosions, gunshots and body slams, and also by the constant wham (and Wham!) of the soundtrack. Baccarin, after getting to play Rosalind Russell to Reynolds' Cary Grant early on, is ultimately treated in line with the "Hot Chick" moniker she's given in the opening credits. Miller, a visual effects artist on "Scott Pilgrim vs. the World" and various video games, has fun staging all manner of vehicular and architectural chaos, but mostly stays out of the way of his script and his star. The movie exists entirely as a star vehicle for Reynolds, and perhaps its canniest stroke is the way it both conceals and demolishes his physical beauty — a small price to pay when an actor's tongue is this gloriously sharp. "I look like a testicle with teeth," Deadpool snarls. And as long as he's around, you'll have a ball.


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Super Bowl nam je doneo i novi trejler za Civil War. I haštagove, naravno.     Eh, sećam se kad je pre deset  (   ) godina Civil War bio stripovski događaj, Marvel je proizvodio banere za potpise na forumima koji su bili u fazonu "I'm with Cap" ili "I'm with Iron-man", tad je fejsbuk još bio mlad - tek par godina - a tviter je praktično počeo sa radom u isto vreme kada je strip krenuo da izlazi... Haštagovi tad još nisu bili a thing a Scar Jo još nije bila udata za Dedpula. Nije ni sada - bar neka konzistencija!!!!!!!1

http://youtu.be/HWXxPvBk6oo

Sinergija između multinacionalnih korporacija nam je onda dala i ovaj simpatični klip. Nekada je Marvel imao kratke, od jedne table sastavljene, stripove koji su reklamirali čokoladice koristeći njihove superheroje. Ovo sad je isto to samo milion puta skuplje:

http://youtu.be/OlZqBR3yTiw

Da nekom ne presedne od muke i slasti, evo odmahi prvog tizera za povratak Meta Dejmona u ulogu koja jer od njega napravila čoveka. Šta? Ne, kakav Vil Hanting, Met je inicijaciju u mužjaka doživeo sa transformacijom u Dž. Borna. Pa šta bi se uopšte dešavalo u Good Will Hunting 2? "Gledali ste ga kako kida matematiku, ali Will je sada stariji, bješnji i rešio je da se zabavi! Good Will Hunting 2 - Will upisuje DIF"?

http://youtu.be/ffxgvAecOuA

Bonus je naravno novi trejler za X-Men Apocalypse:

http://youtu.be/IT34AAaLVSo

Moja jedina primedba do sada je da Olivia Munn meni ne izgleda kao uverljiva Psylocke. Betsi Bredok je ZAJEBAN lik, takođe prepun unutrašnjih protivrečnosti & ličnih demona ali ultimativno zajeban. Munnova mi do sada na svim slikama i trejlerima deluje kao preplašena devojčica, čak i ovde gde mačem preseče auto...

Kako je HRT u tri poteza matirao RTSov dramski program

http://www.beforeafter.rs/kultura/kako-je-hrt-u-tri-poteza-matirao-rtsov-serijski-program/

Pogledao sam THE NORMAL HEART Ryana Murphyja, ekranizaciju kultnog pozorišnog komada Larry Kramera koju je adaptirao sam dramatičar. Kad je reč o samoj adaptaciji, iako nisam čitao pozorišni komad, moram reći da sam impresioniran. Ako izuzmemo nekoliko arija u kojima glumci plasiraju svoje monologe, teško je reći da ovo sve nije pisano kao namenski scenario za istorijsku rekonstrukciju i to baš u filmskoj formi. Lokacije i fizičke radnje su razrađene, tempo je vrlo intenzivan i THE NORMAL HEART traje preko dva sata a odvija se munjevito.

Sigurno da tome svemu doprinosi i Ryan Murphy koji je uspeo da stvori atmosferu nalik BOOGIE NIGHTSu, kao još jednu priču o seksualnoj revoluciji koja ubrzo dostiže svoju mračnu stranu. Murphy odlično balansira između slika razvrata, monogamije i pojave bolesti, koju mahom prikazuje u njenoj tada najrasprotranjenijoj formi koja nosi i vizuelni element.

Mark Ruffalo suvereno vodi All-Star glumačku podelu koja je pojačana Mattom Bomerom u jednoj od onih rola koje podrazumevaju fizičku transformaciju, i Taylorom Kitschom kome je ovo bila prva od dve uloge kojima je na HBO pinkwashovao svoj dotadašnji imidž omiljenog republikanskog glumca.

THE NORMAL HEART unutar svoje vrlo dramatične priče o populaciji suočenoj sa infektivnom i neizlečivom bolešću i zdravstvenim sistemom, uspeva da sačuva i određeni smisao za humor koji proističe iz situacije, u tome prednjači situacija kada glavni junak posećuje Belu kuću na svojoj lobističkoj misiji.

U vizuelnom pogledu, THE NORMAL HEART odlično izgleda. Slika je raskošna, rekonstrukcija epohe efektna iako je najvećim delom vezana za enterijer.

U karijeri Ryana Murphyja koja je prepuna ekscesa i u stvarima koje je radio dobro i onima koje nije THE NORMAL HEART stoji kao delo na koje može biti ponosan, ne samo zbog istorijskog značaja priče o kojoj govori već i zbog toga što je ova tema izvukla samo one najvrednije delove njegovog rukopisa, osećaj za karaktere, atmoseru i visprenost u svakom pogledu.

Mehmete, nisi stavio reklame za Turkish Airlines letove koji voze za Gotham i Metropolis...

Ne postižem, upregla me žena da čistim po kući. To je cena nezaposlenosti 

ne treba ga posebno predstavljati...

http://fest.rs/Vesti/3352/Dimitrije-Vojnov-o-Dzonu-Mektirnanu.shtml



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Haters gonna hate:


North Korea's satellite is tumbling in orbit

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The satellite launched by North Korea on Saturday is tumbling in orbit, rendering it useless, a U.S. official said Monday.

Although the payload of the Unha 3 rocket made it into orbit, it has been tumbling ever since, the official told ABC News. North Korea still views the launch as a success, and the official said the fact that the payload was able to make it into orbit is troubling — the technology needed to make that happen is the same necessary to get a ballistic nuclear armed intercontinental missile to the United States, ABC News reports.

The Joint Space Operations Center is tracking the satellite and a rocket booster stage also in orbit, and it could take years for the payload to re-enter the Earth's atmosphere; the JSPOC is still tracking the payload and debris items from a North Korean missile launched in December 2012, ABC News says. No transmission signals were ever detected coming from that satellite.

Prvi se sateliti u vodu bacaju...

Reprizirao sam I AM LEGEND Francisa Lawrencea, i moram reći da je film izvanredno ostario. S jedne strane, specijalni efekti sa Darkseekersima su i dalje odvratni, ali to sam očekivao i bio sam spreman na njih. I dalje mislim da je greška što su monstrumi docrtavani i digitalno "pojačavani", ali u making ofu koji sam gledao na DVD izdanju, autori kažu kako su u scenama izgledali kao pobesneli pantomimičari što očigledno nije funkcionisalo. Dakle, možda je trebalo naći neko treće rešenje. Ono što sam unekoliko zaboravio kako će se odigrati u filmu ali pamtim da mi je uzmereno smetalo bili su flešbekovi, i na novo gledanje su mi manje smetali nego prošli put. Isto tako, kada se pogleda alternativni kraj (koji fanovi u principu više vole i koji je plasiran kao kraj filma na BR izdanju) onda neki detalji iz flešbekova imaju više smisla, dočim su u onoj najšire distribuiranoj verziji oni više kao neki sloj realističke razrade likova.

Međutim, kako je film "stariji", tako ovi efekti sa Darkseekersima koji su delovali zastarelo čim se film pojavio, dobijaju neku čudnu patinu i ne izazivaju ljutnju kao prvi put.

Sve ostalo, od napuštenog Njujorka, preko igre Willa Smitha, do građenja suspensea i obračuna uspeva da sačuva svoj integritet, pa na neki način i da probudi određenu nostalgiju. I AM LEGEND je u određenom smislu, posle CAST AWAYa, bio preteča survival blockbustera sa jednim glumcem u centru što će u proteklih nekoliko godina biti glavni hit, vhuneći uspehom GRAVITYja.

Iz današje vizure, I AM LEGEND deluje kao i da je prepun Easter Eggova za DC. U filmu imamo Willa Smitha i bilborde za film BATMAN VS SUPERMAN što se 2015. i obistinilo u Warnerovom slateu.

U pogledu akcije, pored imprsivne scene klopke za Willa Smitha koja mi je funkcionisala i prvi i drugi put, sada su mi impozantnije delovali i Willov osvetnički napad i deo otpora koji pruđa Darkseekersima u finalu. Tu su Vic Armstrong i Andrew Lesnie napravili odličan posao.

Nisam mislio da će I AM LEGEND biti film kom ću se vratiti, ali na kraju se tako desilo i dopao mi se više nego prvi put.

* * * / * * * * 

Pogledao sam WORLD GONE WILD Lee H. Katzina, MAD MAX rip-off s kraja osamdesetih koji je bolji nego što bi trebalo da bude. Ovaj film iz 1987. godine donosi doprinos par faca koje ća kasnije postati bitne, scenariste Jorgea Zamacone koji je potom napravio ozbiljnu karijeru na televiziji, recimo na seriji HOMICIDE i direktora fotografije Dona Burgessa koji je kasnije radio sa Zemeckison. Obojica su se istakli i u ovom fllmu s tim što je Zamacona pružio značajniji doprinos.

Burgessova fotografija je solidna, robusna, kako se i očekuje od jednog B-filma rađenog u surovim budžetskim okolnostima. Međutim, Zamaconin scenario donosi jednu finu dozu humora i nihilizma koju odlično kanališe Bruce Dern, kao svojevsrni mentor mladom heroju s druge strane zakona kog igra Michael Pare.

Dok je Pare u ovom filmu straight man, Dern je upravo nepredvidivi guru koji meša spiritualnost koja uliva strah u kosti sa lakonskim odnosom prema surovim okolnostima. Nasuprot njih nalazi se Adam Ant, negativac sa predispozicijom ka religijskom organizovanju koji je sticajem nesrežnih okolnosti u post-apokaliptičnom svetu opustošenom nuklearnim holokaustom pronašao Mansonovu bibliju umesto prave i po njoj organizovao svoju bandu tj. verski kult.

Kako bi se sukobili sa svirepim verskim fanatikom, Dern i meštani jedinog mesta na horizontu u kom ima vode okupljaju totalni ološ među kojima je i kanibal koji obećava da će jesti samo meso protivnika i organizuju otpor.

WORLD GONE WILD je u svim aspektima B-produkt i vidno je sastavljen od elemenata drugih uspešnijih filmova, međutim, Zamaconin scenario mu daje jednu svežinu kroz tu crnohumornu vizuru i anarhičnost, pa je i rezultat jedan natprosečan rip-off postapokaliptičnih hitova tog perioda.

Lee H. Katzin je reditelj koji je izgradio reputaciju radeći na televiziji. WORLD GONE WILD ne pokazuje veliki gubitak što se više nije bavio filmom, ali rezultat je izuzetno korektan. Imajući u vidu uslove rada i zahteve produckije ovo je više nego korektan rad.

* * * / * * * *

http://www.wired.com/2016/02/conspira-sea-cruise-know-truth/?mbid=social_fb



Say you're not one to believe the mainstream media. Maybe you think climate change is an elaborate hoax or the medical community is trying to hide the myriad dangers of vaccinations. Perhaps you are utterly convinced the government is overrun by reptilian beings.
Where on Earth can you go to get away from it all, and mingle with those who share your views? Well, Conspira-Sea, of course. It's a seven-day cruise where fringe thinkers can discuss everything from crop circles to mind control on the open sea. Last month's cruise featured a caravan of stars from a surprisingly vast galaxy of skeptics and conspiracy theorists, including Andrew Wakefield, known for his questionable research and advocacy against vaccines. Also aboard was Sean David Morton, who faced federal charges of lying to investors about using psychic powers to predict the stock market.
But they had an outsider among them, and not one from another planet. Harvard-educated attorney Colin McRoberts is writing a book about people who believe in conspiracy theories, and used a crowdfunding campaign to book passage on the cruise. He blogged about his adventure and told us all about it—including the bit where the IRS arrested Morton when the ship returned to port.
What were some of the conspiracies discussed on board?

We had about a dozen presenters of all different stripes. Some technical or scientific experts, but only one scientific speaker, Wakefield, had a legitimate education. The rest were into new-age or were conspiracy theorists in the traditional sense. Or aliens. They all had their various specialities.
And what were the attendees like?
The people on the cruise tended to be there with a primary focus on one or two big issues. They were there to learn about vaccines. Or they were there to find out more about astrology. But they were interested in everything else. I didn't talk to anybody who wasn't willing to kind of go outside their comfort zone.
Most people had advanced degrees, for the most part master's. I talked to at least one woman who had a PhD, in counseling. There were also some people there who were blue collar. I talked to one person who was a metal worker, another who was a nurse. And I talked to a teacher and a couple who own a new-age bookstore. There was a pretty decent diversity in terms of backgrounds.
What was the relationship between the attendees and observers like you on board?
It was a very tense environment on the boat. There were a couple of instances in which the journalists on board had been treated poorly by a couple of the presenters. One of the journalists was ambushed in the Internet cafe by a couple who had accused her of being an agent of the CIA. She managed to persuade them that she was not an undercover agent.
Did anyone succeed in indoctrinating people?
The anti-GMO track was probably the most effective in terms of changing people's behavior. The primary speaker worked very hard, not at convincing people that GMOs are evil, but in giving specific tools for convincing others that GMOs are evil. Which was, the ethics of it aside, a savvy way to activate some communicators and try and shift actual behavior in the real world.
Wakefield was the most prominent personality on board. What was his presentation like?
I think Wakefield is unhappy with the fact that his career has now taken him to a conspiracy conference in which he's sharing billing with the third dimensional delegates of the galactic roundtable. He sees himself as someone who can champion his issues as an issue of public health, and instead he winds up in sort of a side show.
In his presentation, he launched into a very direct, very passionate, and I think a very heartfelt defense of his own words, explaining essentially that he was unjustly demonized. I got the impression that he was wanting a sort of redemption story. I think this is his second arc. He's trying to redeem himself and start over, not as a medical expert, but as an issue activist.
What do you think motivates these fringe theory evangelists?
I thought that both of the pseudo-legal speakers were con-men. People left with specific, terrible, dangerous advice that could really ruin their lives. There's definitely a streak of con-artistry in a man that gets up and tells you this is how you get rid of your debts, and doesn't say, oh and by the way, I'm under indictment for doing this. Sean David Morton didn't know that he was going to be arrested right after he got off the boat. But he knew the IRS had raided him, I found out later, and was fighting the raid in trial for using some of the legal tricks he talked about in his presentation.
At the same time I think those presenters believed what they were saying. It turns out that both pseudo-legal speakers were both doing it themselves. And that really surprised me because I didn't think that anybody would really spend that kind of time and effort learning how to pull these tricks off and not realize at some point that it will never work.
What do the attendees get out of the cruise?
I think a lot of people who get stuck in an ideology that's based on some irrational idea, like how Bigfoot exists or that vaccines cause autism or that GMOs are poisonous or the legal stuff, they kind of define the idea in opposition to the mainstream. So I think what a lot of them are looking for is a community and a culture that supports them and doesn't judge them for having this unusual belief. They come together not just on a cruise ship, but in a community.
Is there anything we can learn from the attendees?
We tend to receive information filtered through our friends, and colleagues, and associates. When I say that vaccines are safe and effective, I'm not a scientist. I haven't read the study. I believe it because I belong to a culture and a community that values science, but if somebody feels that they can't be a part of that culture because they value the idea that crop circles are caused by aliens, they start to build a community around themselves of people who are also in opposition to science.
That happens to everybody, not just conspiracy theorists. We all do it. And that's why I think it's so important for us to kind of get outside of our little communities, step across the aisle, and have that conversation with someone who is different.

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TV Review: 'Vinyl'

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COURTESY OF HBO
FEBRUARY 9, 2016 | 07:45AM PT
   
Brian Lowry
Chief TV Critic
@blowryontv
"Vinyl" comes outfitted with such a gaudy band and intoxicating setting – reuniting the "Boardwalk Empire" pairing of Terence Winter and Martin Scorsese, coupled with producer Mick Jagger, star Bobby Cannavale and a 1970s rock 'n' roll backdrop – that it's hard not to root for it. The two-hour premiere, though, is a big, messy affair, sometimes mesmerizing, occasionally aggravating, providing a taste of what's to come while feeling too caught up in stylistic flourishes. All told, this is a huge project that perhaps only HBO could deliver. But so far, the album isn't quite as good as the liner notes.

Cannavale plays Richie Finestra, a record executive who is introduced at his wit's end, buying coke on the street and snorting it up with gusto. His frantic situation unleashes a series of flashbacks, not just regarding what brought him to this point, but to his early days in the music business, when he found a signature act and began making inroads into the game.

As it stands, Richie is now the proprietor of American Century Records, which is on the verge of being sold to Polygram, provided that Richie and his central team – which includes right-hand men played by Ray Romano and J.C. MacKenzie – don't somehow screw up the deal. The fear that could happen triggers what might be called a series of unfortunate events, among them an attempt to re-sign Led Zeppelin – whose manager loathes Polygram because of its German parentage – and a desperate search to unearth new acts.

SEE MORE:Mick Jagger, Martin Scorsese Revive the 1970s New York Music Biz in HBO's 'Vinyl'

The product of a lengthy gestation process, "Vinyl" goes beyond just name-dropping, as rock luminaries pass through Richie's orbit, albeit in a less ostentatious manner than the way "Boardwalk Empire" was built around its real-life mobsters. Winter and company also weave in plenty of amusing '70s-era references, from Richie's development team dismissing Abba as a worthy prospect to a second-episode riff involving "Enter the Dragon."

The knowing nature of this framework is balanced against a music scene filled, not surprisingly, with sex, debauchery and characters seemingly plucked from the "Star Wars" cantina. Those colorful elements intertwine with all sorts of shady corporate shenanigans, from unsold records disappearing to radio-station payola in the form of "$100 handshakes." The abundant money breeds commensurate excess, perhaps most embodied in an unrecognizable cameo by Andrew Dice Clay as a radio exec who serves as one of those gatekeepers, whose palm, among other things, must be greased.

It's plenty interesting stuff, including the various creative forces at play in the era, as well as its seamier aspects. Yet even with the benefit of a two-hour launch, the premiere unfolds in a manner that can feel as scattered and undisciplined as the headlining acts – not just in its bouncing chronology, but the extended, dreamlike sequences that seek to convey, for instance, being at a raucous concert in a surreal, drug-addled haze, an experience that even a director as adept as Scorsese can't help but make look a trifle cliched on the screen.

SEE MORE:Martin Scorsese Talks 'Vinyl,' 'The Departed' at Lyon Lumiere Fest

"Boardwalk" alum Cannavale dominates the premiere and subsequent episodes (five of the 10 were previewed) – perfectly cast as a character described as possessing "a golden ear, a silver tongue and a pair of brass balls." Alternately charming and mercurial, frenzied and blissed out, his blinding intensity eclipses practically everything around him.

While everyone else feels a tad underdeveloped initially, the story settles down, and the flashbacks gradually flesh out the supporting players, including Olivia Wilde as Richie's trophy wife, a former model and Andy Warhol protege; Ato Essandoh as the artist who helped launch Richie's career; and Juno Temple as an ambitious A&R assistant, who discovers a band whose surly lead singer is played by Jagger's son, James, who bears a more-than-passing resemblance to his old man. (Other than HBO's "Treme," few series have organically incorporated more music, which is fun and meticulously replicated but, as on "Empire," also can bring the story to a periodic halt.)

For HBO, "Vinyl" already feels like a winner conceptually and promotionally – the kind of splashy, big-ticket series destined to unleash premium waves of publicity and attention. Yet despite the overt and intangible dividends associated with a project adorned with so much A-level talent, compared with the standard of prestige HBO dramas, this one plays more like a "B" side.


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Hmmm, kod nas će to u Ponedeljak, pa ću da vidim. Imam high hopes, ali ovo je razuman prikaz.

pazi hollywood reporter govori o svih pet epizoda datih kritičarima i zvuči entuzijastičije


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Svakako ćemo ga gledati s dužnom pažnjom.

Nego, druga tema:
North Korea reportedly executed its army chief of staff

Quote

North Korea executed its army chief of staff, Ri Yong Gil, South Korea's Yonhap news agency reported on Wednesday, which, if true, would be the latest in a series of executions, purges, and disappearances under the country's young leader.

The news comes amid heightened tension surrounding the isolated North Korea after its Sunday launch of a long-range rocket, about a month after it drew international condemnation for conducting its fourth nuclear test.

A source familiar with North Korean affairs also told Reuters that Ri had been executed. The source declined to be identified, given the sensitivity of the matter.

Ri, who was chief of the Korean People's Army General Staff, was executed this month for corruption and factional conspiracy, Yonhap and other South Korean media reported.

Yonhap did not identify its sources. The source who told Reuters the news declined to comment on how the information about the execution had been obtained.

South Korea's National Intelligence Service declined to comment, and it was not possible to independently verify the report.

The North rarely issues public announcement related to purges or executions of high-level officials.

A rare official confirmation of a high-profile execution came after Jang Song Thaek, leader Kim Jong Un's uncle and the man who was once considered the second-most-powerful figure in the country, was executed for corruption in 2013.

In May last year, the North executed its defense chief by antiaircraft gun at a firing range, the South's spy agency said in a report to members of parliament.

The North's military leadership has been in a state of perpetual reshuffle since Kim took power after the death of his father in 2011. He has changed his armed forces chief several times since then.

Some other high-ranking officials in the North have been absent from public view for extended periods, fueling speculation they may have been purged or removed, only to resurface.

Kimči razdvaja žito od kukolja!


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Pogledao sam film LA ISLA MINIMA Alberta Rodrigueza, sa nedopustivim zakašnjenjem jer sam odavno zainteresovan da ga vidim. Nažalost, sreća je bila lepa samo dok se čekala, film me je u priličnoj meri razočarao. Očekivao sam mnogo više od policijskog procedurala smeštenog u vreme neposredno po završetku Francove vladavine a ono što sam dobio je dosta daleko od uzornog filma tog tipa - MEMORIES OF MURDER.

LA ISLA MINIMA ima par atmosferičnih scena od kojih bi morali izdvojiti noćnu poteru kolima. Ostatak je letargičan, neverovatno pun opštih mesta o istrazi ubistva, sa sve klišetiziranim osumnjičenima, odnosima koji kao da su preslikani iz nekog američkog filma, a bez nadgradnje klišea koja se javila u prvoj sezoni TRUE DETECTIVE.

Lokacija na kojoj se film dešava je umereno zanimljiva, marsha nema dovoljno, a rekonstrukcija osamdesetih je prilično skromna ali korektna.

Ono što mi je najviše zasmetalo, pored toga što film nije previše vešto i sveže realizovan jeste odsustvo reakcije junaka na ono što su američki klišei ali su u konzervativnoj sredini frankističke Španije, pa i posle Generalisimusovog odlaska, veliki tabui. Recimo, fotografije erotskog sadržaja, pa i seks uopšte, devojke lakog morala i tome slično morale bi izazvati mnogo veću sablazan i među okolinom a naročito kod policajca koji je bivši frankista. Ovde su svi ravnodušni kao da su se već nagledali američkih serial killer filmova.

Ukupno uzev, LA ISLA MINIMA bi mogao biti zanimljiv televizijski program za publiku koja u ovom žanru nema previsoke kriterijume ili očekivanja. Što se ostalih tiče, don't believe the hype.

* *  / * * * *

Obavio sam građansku dužnost i pogledao DEADPOOL Tima Millera. Reč je o jednom od onih critic proof filma čiji će branioci čim se naiđa na neku od fundamentalnih primedbi reći "Ali, tako je u stripu!" Dakle, u redu, znamo strip i mnogo toga što je u Deadpoolu zaista je tako i u stripu. Istovremeno, oni koji ne vole strip mogu naići na određene prepreke u recepciji filma jer mnogi nedostaci ovog ostvarenja upravo proističu iz onoga što je "tako i u stripu".

Za početak, ono što je moj fundamentalni problem sa ovim filmom jeste probijanje Četvrtog zida. Moram priznati da mi je to u redu u samo retkim slučajevima kad je reč o produkciji ovih dimenzija. Naprosto, to mi mnogo lakše pada kod neke sirotinje u filmu ili barem kada je reč o nekoj majstorskoj pripovedačkoj igrariji nego u skupom filmu koji pretenduje da bude blokbaster. Dekonstrukcija sama po sebi nije loša ali kada raspolažeš budžetom da stvoriš iluziju, onda ipak više volim da je stvore. No, ovo je sad moj lični stav, moj ugao u odnosu na ovu vrstu estetike, uostalom "tako je u stripu".

Ono što je najveća ironija vezana za ovaj film zapravo nije ironični odmak koji autori imaju prema superherojskom žanru itd. već sam sadržaj koji su ponudili. Prilično je jasno već posle par dana prikazivanja da će ovo biti veliki hit. Otud je zanimljivo da film pati od istog problema kao i FANTASTIC FOUR (koji se meni nota bene dopao) a to je da se iscrpljuje u prilično svedenom originu, da je onaj ko je unakazio junaka istovremeno i glavni negativac, tako da film zapravo neki širok zamah, a tome bih dodao i da u filmu NEMA PUNO akcije. FInale DEADPOOLa na olupini Avengers helicarriera je zabavnije, kreativnije, bolje urađeno nego obračun na drugoj planeti iz FANTASTIC FOUR, ali pošteno govoreći nije bitno spektakularnije. Pored toga u filmu postoji još SAMO JEDAN akcioni centerpiece, a to je ono što besomučno gledamo u trailerima, dakle borba na autoputu. Sve ostalo su uglavnom humori i origin tortura iz koje je nastao Deadpool. Dakle, ko očekuje akciju u ovom filmu dobiće vrlo malo, doduše solidnog kvaliteta.

Međutim, kad je o samoj akciji reč, ono što je vrlo zanimljivo jeste potpuno odustajanje od jednog od klljučnih holivudskih postulata a to je da se glumcu vidi lice u akcionim scenama. Naravno, logično je da je glumac maskiran, ali čak i takvi heroji kada je stani-pani imaju pocepanu masku a negativac ih prepozna i kaže da je oduvek znao/ nije ni slutio ko su. Ako imamo to u vidu, MIlleru treba skinuti kapu, ili je možda bolje u duhu filma ne skidati, da je Deadpoolov govor tela u sebi uspeo da iznese nešto specifično, i da film ne liči na Spider-Mana.

Humor u filmu je dosta sličan TEDu, dakle mahom zlobno parodiranje pop kulture što meni takođe nije baš ono što tražim od skupog holivudskog filma, ali u redu "tako je u stripu": Ima ponekih podbadanja i superherojskog filma i stripa, mada ima i masa nedužnih meta. Naravno, takav postupak samo pojačava efemernost ovog aktuelnog blokbastera. Dok mislim da je u TEDu to zaista bilo šteta jer je on uspeo da progovori i na nivou odnosa među likovima, ovde je šteta jer akcioni filmovi mogu biti vrlo dugotrajni u eksploataciji upravo zbog svojih arhetipskih postavki. Paradoksalno, FANTASTIC FOUR će moći lakše da se gleda u sledećoj generaciji od DEADPOOLa.

Da li je film postigao svoj efekat? Pa što se mene tiče, isto koliko i FANTASTIC FOUR s tim što nisam siguran da li bih novog DEADPOOLa, čak i kao Ryan Reynodsov fan, ponovo gledao sa istim zadovoljstvom kao podelu koju je okupio Trank. Isto tako mislim da je Ryan Reynolds sjajna podela za ovu ulogu, mislim da ju je odlično odigrao, ali da je film mogao biti još bolji. A opet u poređenju sa onim što Marvel pravi u svojoj Disney inkarnaciji, ova Foxova je i dalje meni mnogo draža i efektnija. Paradoksalno ipak meni se iz te Marvel Disney sinergije ponajviše (uz sve svoje probleme) dopao GUARDIANS OF THE GALAXY koji u sebi nosi sličnu parodijsku crtu kao DEADPOOL ali je za njega ipak filmčina, bogata srdačnim humorom i akcijom (koja unutar svega toga uspeva da bude prilično duhovita) što ovde u grčevitom pokušaju da se bude R i pošto-poto duhovit na kraju priče ipak, rekao bih, izmiče.
Štaviše, zanimljivo je kako će Reynolds kroz moć Marvelovog brenda povratiti malo box office moći, iako ovaj film sadržava niz scena koje su slične njegovim flopovima kao što su VOICES, SELF/LESS, pa konačno i GREEN LANTERN, a barem je Tarsemov film i neuporedivo bolji na fundamentalnom nivou od Millerovog.

Millerov film opet zaslužuje pohvale zato što ta količina sprdačine, i stagnantnog dramskog sadržaja ipak može da se gleda. Žao mi je što Gina Carano nije dobila bolju ulogu, mislim da je potcenjena i nedovoljno iskorišćena ovako kako je sada. Mislim da bi Toby Kebbel ipak lako dobio Eda Skreina u nadmetanju ko je bolji negativac između FANTASTIC FOUR i DEADPOOLa, ali isto tako ne može se osporiti da film dobro izgleda. Da je izuzev sitkomastih scena sa TJ Millerom, dosta pristojno estetizovan.

I naravno, Ryan Reynolds je apsolutno na nivou kao Deadpool. I Deadpool će i ako bude recastovan sigurno biti poistovećivan sa Reynoldsom, ovo će mu biti jedna od signature rola. DC je pozajmio svoju muzu Morenu Baccarin i ona se isto prilično dobro snašla u ulozi koja doduše nije zahtevala mnogo više od onoga što ona inače mora da pruži na TVu.

Moj lični utisak o ovom filmu je između * * i * * 1/2 ali pošto je "tako u stripu", Millerov domet može dostizati i * * * ako uzmemo u obzir sva ograničenja, želje i pozdrave koje je morao ispuniti.

https://m.youtube.com/watch?ebc=ANyPxKrjDbYvpN58nVKEtnDoHSnHMv-jTSf1AFoyH4BuSoiC3ApqKlR9fHr0s742MwvDDjV671Ndy79uDLHtgn3RdSwzUxDJ0A&time_continue=132&v=Cle_rKBpZ28


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I ne reče ništa za Kapidžića???? Ovo ostalo mi zvuči potpuno očekivano. 

Nego, Predator 4 kao da se pomalja...


Predator 4 Is Still Happening, Here's What We Know


If you're a fan of dreadlocked alien warriors with cloaking devices, today may be your lucky day. There's been talk of another Predator for quite some time, ever since Predators back in 2010, and though there still aren't many specific details, it does appear that the process of Predator 4 is moving forward.

What we know about the project is little more than that Shane Black (Iron Man 3, Kiss Kiss Bang Bang), who appeared in the 1987 original (he plays Hawkins), will direct and collaborate on the script with Fred Dekker (Monster Squad, Night of the Creeps). Regardless of how little we know, that's enough to get me wildly excited for Predator 4. But Dekker just took to Facebook to release this cryptic, yet enthusiastic, message to fans.

   

I cannot say where I was this morning, or what I saw, or what we talked about. But if you are a PREDATOR fan?  One word:YES.
Posted by

Fred Dekker on Tuesday, February 9, 2016   

What exactly this means, I'm not entirely sure. Does this mean that Fred Dekker and Shane Black perhaps got a "YES" from the studio and that Predator 4 is officially a go? That would be exciting? Perhaps it means that they found a sweet location, or saw a design for the latest Predator, or literally any of a hundred things. Still, the enthusiasm has to be appreciated for fans, and though it's not much, it's certainly enough to know that things are moving forward and the folks involved appear to be stoked.

Just because it's been a while, and many fans are still trying to pretend the Alien vs. Predator movies don't exist, don't expect the new Predator to be a reboot. Shane Black has said that he and Fred Dekker don't want to start over, that it would be a waste to squander the mythology that the franchise has already built up over the years.

But at the same time that Predator 4 won't be a reboot, it doesn't sound like it will exactly be a direct sequel either. Shane Black also said that he likes the idea of "inventive sequels," ones that explore the mythology of the property in a different way instead of simply starting over. It sounds like it may be something of a soft reboot, a movie that doesn't ignore what came before, but also goes off in its own direction. That's reminiscent of what happened with both the Jurassic Park and Terminator franchises last year—the new installments aren't complete do-overs, but they do change things a great deal.

However Predator 4 turns out, you can bet this is one that we'll be keeping a close eye on, and when we find out more, you'll be the first to know.




Meni je Predators bio krš ali ovo bi moglo da bude zanimljivo...

Uzgred, Kim Džong Un ne samo što ubija bez uzdržavanja nego i korsiti Apple računare. It figjrz.

A mene si prozivao zbog MacBooka...


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mada. očekivao sam hackintosh iskreno!


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Pogledao sam BOUND TO VENGEANCE Jose Manuela Craviotoa. Ovaj indie triler će biti u selekciji FESTa i mogu reći da uprkos tome što je zanimljiv ne mislim da je dovoljno reprezentativan za FEST koji slovi za "festival festivala". Naprosto ne mislim da je to film koji na neki izrazit način ilustruje neku tendenciju unutar savremenih žanrovskih kretanja iako je sasvim uredan.

Film je pun dramske ironije i to mu je osnovni postupak. Govori o zatočenici seksualnog predatora koja beži iz zatočeništva i kreće da oslobađa predatorove razne žrtve držeći ga kao taoca. Na tom putu nailazi na niz opasnih i bizarnih situacija.

Cravioto se odlično snalazi sa malim budžetom i film u tom smislu može biti poučan našim autorima, ali isto tako ovo je naslov koji je ipak produkt jedne vrlo jake kinematografije, sa plodnom produkcijom i sebi može dozvoliti ovakvu lapidarnost koju naši autori sebi ne mogu da dozvole iako bi trebalo.

Otud, nisam siguran koju poruku ovaj film može iskomunicirati svojim gledaocima na FESTu. Naravno, nisam siguran da je dužan da je prenese ali kladim se da svaki posetilac FESTa ipak očekuje da sa filma izađe bogatiji za neko saznanje. Ovo je sasvim korektan film ali ne i više od toga. Otud i treba da ga pogledaju samo fanovi žanra.

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Pogledao sam BETERANG Seung-wan Ryooa, jednog od uspešnijih korejskih reditelja akcionih trilera, koji ipak ne spada među moje favorite. Iz njegovog opusa izdvojio bih BERLIN FILE koji bi se uz određeni entuzijazam mogao kvalifikovati u prvu ligu južnokorejskih filmova. BETERANG je krimi komedija o detektivu koji postaje opsednut slučajem mladog bahatog bogataša kome sistem radi u korist i nikako ne uspeva da dođe na red za propisnu istagu i kaznu.

Međutim, uprkos svim pritiscima establišmenta i starešina, detektiv je uporan ali i bogataš pokušava da mu zagorča život.

Osnovna karakteristika BETERANGa je upliv humora u jednu priču koja uglavnom ima mračne tonove i nalazi se u domenu društvene kritike. Humor proističe kako iz pojedinih situacija tako i iz obilja slepstika u scenama borbe i potera.

Seung-wan Ryoo nažalost ne uspeva da na pravi način integriše humor, akciona uzbuđenja i društvenu kritiku tako da se film u priličnoj meri raslojava uprkos nekim izvanrednim set-pieceovima koje je izgradio sa svojom ekipom.

Ukupno uzev, ipak, BETERANG ne ulazi u prvu ligu južnokorejskih ostvarenja ali kada je reč o bioskopskoj zabavi, svakako ima svoje mesto u prošlogodišnjoj ponudi i na korejskom i na globalnom nivou.

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Batman V Superman: Why DC's Movie Universe May Be In Trouble

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If you needed any proof of how excited people are for Batman v Superman: Dawn of Justice, the response to the final trailer that dropped the other day should drive that point home. People got rather psyched, and with good reason—that early sequence where Bats thrashes all those dudes in the warehouse is awesome. It's likely going to make a ton of money, but according to a new rumor, things might not be all sunshine and lollipops behind the scenes for DC and Warner Bros., and there might be some big changes to DC's cinematic slate in store.

This is, of course, unsubstantiated rumor from unnamed sources, and you should treat it as such, but it's an interesting proposition to consider.

Batman v Superman: Dawn of Justice, which is a mouthful of a title, is intended to be the jumping off point for the DC Extended Universe, and lead to the Justice League movies down the road. Not only are the Dark Knight and Man of Steel in this movie, but Wonder Woman plays a substantial role, and we've heard that we'll see Aquaman, the Flash, and others show up in at least some capacity. That's all well and good, but according to Drew McWeeny at HitFix, and his sources, now that people are finally getting a look at BvS, the reaction hasn't been quite what the studio hoped and could have a huge impact on DC/WB's plan moving forward. He said:

My guess is what's going to happen is based on what I'm hearing...is Justice League is going to get moved back and that Ben Affleck Batman movie, that's what's going to end up in that spot. My guess is they're going to throw whatever money it takes at Ben Affleck to make that Batman film happen sooner rather than later. They're going to need to rebuild again, they're going to need to win people over, they're going to need to lay some different groundwork. I don't think this is going to be the springboard into the Justice League that they wanted it to be.

He goes on to say that, according to people who have seen Batman v Superman: Dawn of Justice, the two standouts are Ben Affleck as Batman, who is good, and Jesse Eisenberg as Lex Luthor, who is reportedly "great." Batman has proven, repeatedly, that he's one of the most popular superheroes in the world—both The Dark Knight and The Dark Knight Rises earned more than $1 billion—and if they do require a new blueprint, he's a reliable base to build upon.

If this pans out, it would represent a titanic shift in DC's release strategy. McWeeny thinks that both Suicide Squad and Wonder Woman will go off as scheduled. That makes sense since one is finished filming and will hit theaters in a few months, and the other is already in production. He does say elsewhere, however, that he'll be surprised if Justice League: Part One will begin production when the studio says.

There aren't any specifics revealed, but it sounds like the studio may not be entirely happy with what's on film. The latest trailer is super Batman heavy, but earlier ones spent more time with Superman, so I just figured it was the Caped Crusader's turn. Zack Snyder has been a big part of the architecture of the DCEU thus far, but it also sounds like there may be some issue with the work he's done, especially if there's talk that he won't direct Justice League: Part One, like he's currently slated to do. And when the report says Batman v Superman: Dawn of Justice needs to make a billion dollars for people to keep their jobs, that's daunting.
Then again, Batman v Superman: Dawn of Justice could very well top the $1 billion mark. A lot of this is, of course, dependent on how the audience responds. There isn't much a movie studio won't forgive in the wake of a massive blockbuster. And like I said, this is all unofficial scuttlebutt, but it will be interesting to see how this plays out.

We'll get to see the movie and judge for ourselves in short order as Batman v Superman: Dawn of Justice hits theaters March 25. 

A Dedpul ubi na BO-u:

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Deadpool just scored the single-biggest day ever for an R-rated movie, and it's (probably) about to snag the first $100 million+ R-rated opening weekend.

Fifteen years ago, Hannibal, the much-anticipated follow-up to The Silence of the Lambs, opened with a massive $58 million Friday-to-Sunday frame. At that time, said debut was not only the largest R-rated opening of all time but also the third-biggest Fri-Sun opening weekend ever, behind only Star Wars Episode One: The Phantom Menace ($64m Fri-Sun) and The Lost World: Jurassic Park ($72m Fri-Sun). 2001 kicked off something of a gold rush regarding opening weekend-centric/front-loaded theatrical moviegoing. But the film that kicked it off turned out to be a relic of a bygone era, one of the last R-rated adult-skewing blockbusters we would see for quite some time. We have had 35 $100m+ opening weekends since 2002. None of them were R-rated. That is going to change tomorrow morning.

You can argue whether or not Deadpool (review) is as "adult-skewing" as Hannibal or even Universal/Comcast CMCSA +1.33% Corp.'s Fifty Shades of Grey, but it's about to become the biggest R-rated opening of all time and the first $100 million+ R-rated debut. Ladies and gentlemen, Deadpool just made $47.5 million in a single day. That's the biggest R-rated single day gross in history, above the $42m opening Thursday (including $5m in Wednesday previews) of The Matrix Reloaded.
 
It was the biggest R-rated single day, the 39th biggest single day, the 21st biggest opening day, and the second-biggest day ever for a 20th Century Fox release behind the $50 million Thursday debut of Star Wars Episode III: Revenge of the Sith. It's pretty much the biggest opening day for a superhero comic book movie save the last two Dark Knight movies, Iron Man 2 and Iron Man 3, the two Avengers films, Spider-Man 3, and Man of Steel. So yes, the X-Men spin-off snagged a bigger opening day than any X-Men film. And by the way, while the film played in IMAX and PLF auditoriums, it did not go out in 3D.

The big question is whether or not the film is indeed "fan-person"-frontloaded (I hate the term "fanboy") and is going to comparatively peter out after the first 24 hours or so. The optimist says that it will prove to be something of a Valentine's Day weekend date night pick for both respective genders. Conventional wisdom says it'll be frontloaded, but the Thursday-to-Friday numbers aren't bearing that out to any extreme degree yet. The film earned 27% of its Friday via Thursday previews. That is a bit less than Lions Gate Entertainment's The Hunger Games, Warner Bros./Time Warner TWX -0.10% Inc.'s The Dark Knight, Universal's Fifty Shades of Grey, Walt Disney's DIS +0.93% Captain America: The Winter Soldier, The Avengers, The Hunger Games: Catching Fire, or Avengers: Age of Ultron.
We're not talking about a Deathly Hallows part 2 or Twilight Saga: Breaking Dawn situation in terms of immediate frontloading. Okay, it's also not like Star Wars: The Force Awakens (47% of its Friday via Thursday), but I'm only throwing that one out there because I know you're going to ask. Point being, while the weekend may be frontloaded, it's not going to be insanely front loaded. If it plays exactly like Fifty Shades of Grey (last year's blockbuster Valentines Day weekend opener), it'll snag $133m for the Fri-Sun debut and $140m for the four-day frame. That's on the high end of possible, but here's a nugget: If it hits $115 million Fri-Sun, it'll top Pirates of the Caribbean: At World's End ($114m) as the biggest Fri-Sun debut for a film opening on a holiday/long weekend. Screw "biggest February opening" or what-have-you, this one may end up among the top-20 opening weekends, period.

For those who don't know, Deadpool is a 20th Century Fox  release which is based on a cult comic book character who actually appeared in X-Men Origins: Wolverine in a truncated and fan-unfriendly cameo appearance. Ryan Reynolds and eventual director Tim Miller has been pushing for a stand-alone feature ever since. They got their wish a couple years ago partially (but not remotely entirely) due to the online popularity of some leaked test footage that eventual director Tim Miller had offered for the project. Like Minions, this is a case of a spin-off that may well outperform the franchise that spawned it (at least on opening weekend). The film cost just $58 million to produce, which meant there wasn't much of a risk in terms of letting the famously R-rated Deadpool be R-rated in content and in spirit.

While Deadpool is not remotely the first R-rated comic book movie or even R-rated superhero movie, it's about to leave its predecessors in the dust. To wit, if these numbers bear out and we end up with (for example) $123 million Fri-Sun/$136m Fri-Mon debut weekend, it will have already surpassed every single R-rated comic book superhero movie ever. The  Angelina Jolie/James McAvoy/Morgan Freeman release Wanted earned $134m domestic and $345m worldwide on a $75m budget. If you're talking unapologetically costumed comic book superhero movies that went out with an R-rating, well Watchmen earned $107m total in America and $185m total worldwide back in 2009, so that's kinda already a done deal.

And it'll already be the second-biggest R-rated comic book movie ever behind only 300 ($210 million back in 2007). If you want to talk inflation, Deadpool may surpass the $130m "adjusted-for-inflation" gross of Blade by Monday or Tuesday. Heck, we all (correctly) championed 20th Century Fox's R-rated triumph Kingsman: The Secret Service last year when it roared to $128 million domestic and $422m worldwide off of this weekend (it opened in the UK a few weeks earlier), but that domestic number is kaput as of maybe Tuesday or Wednesday and the worldwide figure... well, I'm not going to predict $400m+ worldwide off of a day or two of worldwide play, but you get the idea.

And yes, it's still February, but I'm inclined to call 20th Century Fox's Deadpool campaign the marketing triumph of 2016, although I'd love to be wrong on that account. I would argue their only "mistake," and I use that term somewhat tongue-in-cheek, was in not having a new X-Men: Apocaylpse trailer ready to roll. But X-Men's loss is Eddie the Eagle's gain. While this doesn't magically turn Ryan Reynolds into a movie star, he does get quite a bit of credit for continuously pushing this project in the face of relative opposition or indifference.

Anyway, we will have plenty more to discuss tomorrow when we see where the weekend estimates end up. At last, Hollywood realizes the drawing power of adult males who want to pretend that they are still teen boys. Just think of how much better Deadpool might have done if audiences weren't so clearly tired of costumed superhero comic book movies. Oh, and if you're a kid trying to sneak into Deadpool this weekend, while I cannot condone such behavior, I can beg you to buy your cover ticket for Brooklyn. Hail, Caesar! dropped 66% from last Friday, so you kids clearly weren't using that approach.

Mene je najnoviji Batman trejler odusevio, raspametijo, i jeeeedva cekam da gledam film.
Eeeeej!
Betmen napucava Supermena!(bale, sline,peckanje u beshici i zamagljenje u ocima-istovremeno!)

pogotovu ona faca Supsa na kraju trejlera, kad ga Betsi blokira....(moram u wece...)

Koliko sam ja shvatio, već su krenule pripreme za JUSTICE LEAGUE. E sad, u BATMAN VS SUPERMAN, Superman je u subalternoj poziciji jer Cavill koji se nije potvrdio na box officeu sa UNCLEom mora da se iznese sa Ben Affleckom koji ima moć u ravni Clinta Eastwooda ili Mela Gibsona iz sredine devedesetih na Warnerovom lotu. Tako da Warner kroz DC ne samo da kanališe svoje poslovne apetitie već uspostavlja i dugotrajne kreativne paktove. Ono što mi je sumnjivo u ovoj priči jeste pretpostavka da bi Warner fasttrackovao Batmana kog Affleck treba i da režira a ovaj još radi na svom filmu. No, akp krenu tim putem, nadam se da će gurati plot u kom se pojavljuje i Deadshot.


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BTW, odavno postoji priča da je Warner tražio Batman-heavy cut filma.


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na imdbu kažu oće novu trilodžiju...
mada, meni je skroz ovde Aflek idealno ostario i zadedio se, čuči mu ovaj drtavi Daknajt,,,nekako je faca za to...ne bi mi smetalo ni 10 filmova sa njim...treba čovek da spere onog promuklog Bejla...majkomila kad se setim....

Bale je fazon, bilo ne ponovilo se...


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Mehmete, priznaj da nisi ni sanjao da ćeš ikada videti Lego Deadshota?

Pogledao sam BATMAN: BAD BLOOD Jaya Olive. Kako sam već ranije naglašavao, DCjeve animacije su pošle stazom obraćanja sladokuscima, i BAD BLOOD nastavlja tu liniju. Ovde su čak i Nightwing i Batwing kudikamo prominentniji od samog Batmana. Nastavlja se Morrisonova linija tretmana lika iz ovog arca u kome su prethodno adaptirana dva njegova stripa. Osim Talie Al Ghul međutim negativci su suviše second tier za moj ukus u ovom filmu, i naprosto ne mogu da ispariraju velikoj Bat sili sa kojom se bore. Stoga i BATMAN: BAD BLOOD nema potencijal za veći crossover van najtvrdokornijih DC fanova.

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Quote from: crippled_avenger on 15-02-2016, 00:26:08
Mehmete, priznaj da nisi ni sanjao da ćeš ikada videti Lego Deadshota?

To je Cyborg iz Lego Justice League.
Deadshot je drugačiji.
I ja naravno sa klinjom pratim sve DC crtaće koji izlaze,
i ovih nekoliko unazad su mi extra.

Ali ne znam da je Mexan nešto fan Dedšota, ali ako jeste nek' odgleda meni vrhunski Assault on Arkham iz 2014! Poslastica od crtaća!!!

Pomislio sam da je Deadshot zato što je crnac kao u filmu koji uskoro izlazi.

ASSAULT ON ARKHAM je odličan. Nisam stigao da ga živopišem ovde.




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Ima Lego Dedšot, naravno. Pojavio se u Lego Batman 2 i 3. Evo nekih semplova:

Ovo je iz igre



Ovo je fizička figura:



Ovo nije oficijelno ali je slatko, neki baja sa JuTjuba napravio Deadshota i Deathstrokea od Lego delova. Sve moje homoerotske fantazije na jednom mestu 

Nego, pošto danas idem da pogledam Dedpula, da prenesem da je film oficijelno postao hajest grosing  premijera u Februaru ikad sa 135 zarađenih milijuna. Pritom, ovo je R-rated film. Faking ludilo.
'Deadpool' exceeds all expectations with a record-breaking $135 million opening weekend — and it's not slowing down

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Turns out audiences will flock to an adult-focused superhero movie.

Exceeding what its studio, Twentieth Century Fox, or anyone else in Hollywood thought it could earn, "Deadpool" has become the highest-grossing February release of all time with a three-day weekend total of $135 million, according to Exhibitor Relations. And the Presidents' Day holiday weekend isn't even over yet.

Projections have the latest Marvel movie to be at around $150 million by the time the four-day weekend ends (the film was made for around $58 million).

These figures blow away the openings of some superhero titles with great pedigrees, like "Man of Steel" ($116 million opening) and 2002's "Spider-Man" ($114 million).

"Deadpool" shattered the previous February record set last year by Universal's "Fifty Shades of Grey," which had a three-day total of $85 million and a four-day of $93 million. "Deadpool" also now owns the biggest Friday opening in the month, with $47.5 million. ("Grey" was also the previous record-holder with $30.2 million.)

Throwing a comic-book movie in February, a time of year in the movie business when studios don't release their big guns, might seem like a no-brainer. But "Deadpool" is not your typical Marvel movie.

One of Marvel's most controversial characters with his foul language and graphically violent storylines, Deadpool's movie, with Ryan Reynolds playing the lead, has been in development for close to a decade. There was trepidation about whether there would be enough of a fan base to come out to theaters, especially as Fox narrowed the audience when it went with a hard R rating. But "Deadpool" proves that you can stay true to a character's roots and still rake in the dough.

It seems "Deadpool" has tapped into the market of fanboys who wanted to see edgier material on screen and not the regular do-gooders like "The Avengers." Not to mention that it's filled with jokes about Reynolds ("Deadpool" has now made more than the entire run of the actor's last comic-book attempt, "Green Lantern"), digs at other comics, and pop-culture references that give it a unique feel.
This all bodes well for darker comic-book adaptations coming out later this year: "Batman v Superman: Dawn of Justice" and "Suicide Squad" (though neither went the R route, and will be released as PG-13).

"Deadpool" also demolished the weekend competition, as the relationship comedy "How to Be Single" took in an estimated $18 million over three days, and "Zoolander 2" took in a disappointing $13 million, according to Variety.

Now the first "Zoolander" did horrible at the box office, too, but with the cult following it built Paramount was at least hoping for a $20 million opening. Sadly, with a 22% Rotten Tomatoes rating, it might have been better to pass on the sequel.

Jedino mi žao Zulandera 2, mada ljudi i pričaju da je slab 

Zoolander 2 je iz fazona da ti je žao što si ga gledao...


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meni ova deadshot figura sa maskom više liči na cyborga nego cybirg, samo da je mašinski deo lica na drugoj strani...


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Pa, to je tvoja potajna želja da vidiš lice Willa Smitha dok je u kostimu. Ne osuđujemo, imaju ljudi i grđe seksualne fetiše.    Ali kanonski i u ogromnoj većini strip varijanti njihovih likova, Cyborgu se lice delimično vidi, a Deadshotu nikada.

Glede univerzuma, ja obožavam Arkham Video Igre, i sve u tom paketu, a tamo je Dedšot onako...seronja, bezveze...nije čak ni faca kao u Assault Animranom, ali zato su Harli,Ajvi i Ket mljac( što se tiče sexualnih stvarki )...

Pravi trenutak da podsetimo kako u stvari izgleda osoba koja u tim igrama radi motion capture za Harli:


http://youtu.be/aGL1pIQVJVo


Naravno upozorenje da ono što je viđeno ne može biti odviđeno i dalje važi 

Mnjaaah,
to ti je za viikmajnded asholze,
ja sam malo bandoglaviji,
tako da kad gledam Kingkonga ne vidim Goluma iza face,
sooooo, no harm dan!

Nego, potrajalo je ali odgledao sam Jessicu Jones, drugu Marvel/ Netlfix serijsku saradnju namenjenu publici naučenoj da bindžuje. Potrajalo je jer, dok drugi parovi moraju da usklade termine kada pokušavaju da dobiju dete, u mojoj kući se to dešava kada se dogovorimo da gledamo neku seriju zajedno. Moja žena nije htela da zajedno gledamo Daredevila, ali Jessica Jones ju je interesovala i rezultat je, mislim, toliko pozitivan da ćemo drugu sezonu Daredevila gledati zajedno. Way to go, Marvel.

Enivej, moram da iznova kažem kako sam impresioniram Marvelovim naporima u okviru Netflix produkcije. Daredevil mi je, već sam to rekao, toliko poremetio kriterijume da sam se posle mučio gledajući prvu sezonu Flasha jer mi je serija, inače dobra i zabavna, delovala kao osnovnoškolski peting u odnosu na Daredevilov hardkor seks sa penetracijom i vučenjem za kosu. Jessica Jones, na moje veliko iznenađenje, ide par koraka dalje i u nekim elementima je grublja i tvrđa od Daredevila. U nekim je i bolja.

Prvo da iznesem i zamerke koje imam, a one nisu sasvim formalne. U najprvijem redu, kako je ovo, kao što je već i red, pre trinaestočasovni film nego klasična serija sa nedeljnim tempom i pričama spakovanim u epizode, Jessica Jones ima i malko sala koje je moglo da bude izbačeno. Imao ga je i Daredevil, moj osećaj je da bi obe serije sa 13 epizoda mogle komotno da budu skraćene na desetak i da to bude lep komad krtine a da se ništa bitno ne izgubi, dok bi se na tempu primetno dobilo. Kod Jessice Jones je ovo pogotovo vidljivo u početku jer "prava" dinamika kreće tek negde od pete epizode. Do tada je to više omažiranje noar tropa i portretiranje badass feminističkog antiheroja koji previše usiljeno pokušava da bude badass antiheroj da bi to imalo punu feminističku snagu. U nekom sam se momentu i zabrinuo da će se serija zaustaviti na ideji da nadrkana žena koja ide unaokolo i mlati ljude zato što ju je neko nekada popreko pogledao jeste nekakav pro-femina ideal na koji se valja ugledati.

Srećom, ne, serija ovo uzima kao početnu poziciju ali uspeva da je podrobno iznijansira i čak i sam lik Jessice Jones koji je izrazito jednodimenzionalan i usiljeno gritty, štaviše, nesipmatičan većinu vremena, do kraja biva humanizovan na način koji i opravdava i potkazuje korišćenje palp i noar tropa u pristupu materijalu.

Možda bi zamerka mogla da ide i na to da serija ima vrlo malo humora, ali možda je to i samo lična preferenca. Nakon gledanja Daredevila koji je dobro balansirao između tragičnog mračnjaštva i žovijalnijeg duha, Jessica Jones deluje izuzetno neraspoloženo sa tek ponekim onelinerom i par očiglednijih pokušaja komičnog predaha koji u opštoj atmosferi tmine deluju pomalo nezgrapno.

Kako god, centralna priča je zapravo iznenađujuće dirljiva i relatabilna iako se serija bavi klasičnim fantazijskim materijalom. Bendisov i Gaidosov strip je uzet samo kao osnova a Melissa Rosenberg je zatim na to nadgradila ozbiljan narativ u kome se negativac koji može da kontroliše druge ljude samo glasom i pozitivci koji su polupolomljena ljudska bića sa pregršti problema (asocijalnost, alkoholoizam, samoprezir, krivica) ipak moraju udružiti da ga poraze, skladno dopunjuju da ispitaju i neke sasvim ozbiljne teme. Serija, recimo, ima jedan od najozbiljnijih i najzrelije osmišljenih tretmana silovanja (sama Rosenbergova je u intervjuima naglasila da nije želela da ide lenjim putem prikazivanja silovanja u grafičkom smislu), a kombinovanje superherojskih motiva sa mračnom i gritty pričom je prilično uspelo. Kempa ima u naznakama, tek da se prizna kako su osnovne postavke prilično bizarne, ali su zatim odnosi među likovima odrađeni dosledno, ozbiljno i sa poštovanjem. Skoro svaki od likova do kraja biva humanizovan for better or for worse, tako da pozitivci bivaju pokazani (više puta) kao ljudi koji su u stanju da greše,a negativci kao, opet, ljudi koji dele iste strasti kao i svi ostali i koje je makar moguće razumeti. Ovo je slično portretu Kingpina u Daredevilu, osim što je sam zaplet ovde mnogo nižeg nivoa, ličniji i intimniji pa time zapravo relatabilniji.

Ovde se i vrlo uspelo preslikava klasičan sapunskooperaški pristup superherojskih stripova u kojima se nominalno dobri momci bore da zaštite civile od loših koji bi da im naude, a u stvarnosti se radi o ličnim sukobima dve strane koje civili suštinski ne interesuju mnogo. Te stvari, kada se dobro urade dobijaju razmere klasičnih mitova (Najtflajer, ako sada čita Slottovog Spajdermena, može to da posvedoči) i u Jessici Jones se uspešno i ubedljivo stvari vrte u krugu desetak likova koji proklaze kroz brojne permutacije i preokrete, saradnje, izdajstva itd.

Centralni lik, sama Jessica, je, kako rekoh, po postavci gotovo karikaturalno gritty dobar deo vremena, do te mere da kada se na kraju poslednje epizode glumica Krysten Ritter nasmeši, ovo je potpuni vizuelni šok za gledaoca, no sa odmotavanjem priče se nekako dolazi do pojašnjenja zašto je zapravo ona takva kakva je i mada se ne pretvara u simpatičnu, ljupku osobu, ona uspeva da izkanališe taj "broken hero" sentiment koji su i Bendis i Gaidos gađali u stripu. Zato je ansambl oko nje tu da provajduje humanizam koji protagonistkinji nedostaje i tu su svi dobri, od Carrie Anne Moss za koju se nadam da će nastaviti u drugoj sezoni, preko Mikea Coltera koji je savršen Luke Cage, meni i inače izuzetno drage Rachael Taylor čija je Patsy Walker eminentno ubedljiva (iako nema veze sa istoimenim likom u stripu), odličnih Eka Darvillea ili Colby Minifie koji seriji daju onaj klasičan menhetnski šmek, pa do Davida Tenanta koji je ovde razbio.

Seriously, Tenantov Purple Man (mada se nigde ne koristi ovo ime, i umesto toga ide samo pseudonim Kilgrave kome se i likovi u seriji podsmevaju) nije just another British villain, već metikulozno odigran portret narcisoidnog psihopate koji je toliko slojevit i ubedljiv da mi je prosto žao što ga neće biti u daljim sezonama. Marvel, koga dosledno kritikuju da su im u filmovima negativci bledunjavi i nepamtljivi, bi mogao da se ozbiljno pobusa u prsa i ukaže na Tenantovog Kilgravea kao na primer kako oni to ipak umeju, samo im treba više vremena.

Serija nema onako fantastične scene akcije kao Daredevil ali akcije ima, prljava je, gritty i krvoločna, da je ovo bioskopski film bio bi R-rated, zbog psovanja, eksplicitnog seksa i nasilja koje povremeno uleti u slasher teritoriju.

Veoma sam zadovoljan drugim Marvelovim izletom na Netflix i mada nikada neću povući ružne reči koje sam Jephu Loebu uputio u više navrata na ime stripova koje je radio poslednjih desetak godina, ovo što sada radi sa Netflixom je skoro dovoljno da izbalansira terazije krivice i zasluge i vrati nas u neutralnu poziciju čoveka koga po dobru pamtimo jer je bio koscenarista filma Commando    Daredevil nam stiže sa drugom sezonom za pet nedelja, a tu imamo Punishera kao garnirung. Luke Cage će krajem godine, pa onda iduće godine Iron Fist i onda bože zdravlje Defenders. Ako sve bude na ovom nivou, moraću da Marvelu skinem nekoliko kapa.