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The Crippled Corner

Started by crippled_avenger, 23-02-2004, 18:08:34

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Da li je vreme za povlacenje Crippled Avengera?

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Total Members Voted: 91

Voting closed: 23-02-2004, 18:08:34

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crippled_avenger

#3000
22-01-2010, 19:52:21
Pogledao sam FASUTO SUKUWADDO poznatiji kao FIRST SQUAD - THE MOMENT OF TRUTH Yoshiharu Ashinoa i moram priznati da je reč o izuzetnom ostvarenju koje naravno ima poseban efekat na mene kao ljubitelja WW2 filma i totalitarnih ideologija. Moram priznati da je mene kao ljubitelja anime pregazilo vreme u priličnoj meri. Ja još uvek živim u svetu u kome je Yoshiaki Kawajiri najveći majstor a kapiram da je anime u međuvremenu otišla mnogo koraka dalje. U tom smislu, ne znam gde se ovaj naslov nalazi u odnosu na savremene anime tokove, jer kako rekoh, moje intenzivno praćenje anime je praistorijsko, osim naravno catchupovanja sa novim radovima velikana iz mog vremena.

Ovaj naslov sam svojevremeno zapazio i trejler mi je bio super, međutim onda mi je nestao sa radara i sada me je kritika sa Popboksa obavestila da je leakovao odličan screener sa hardcoded subovima.

Kako god bilo, prvi element koji je osvežavajući kad je reč o FIRST SQUADu je to što se film istovremeno koristi stilemama anime ali iskoračuje u potpunosti iz tog tematskog kruga što je izuzetno zanimljivo. Iako je dizajn likova radio Japanac, prisutni su pored anime konvencija u dizajnu likova i uticaji sovjetske propagande kao i sovjetskog WW2 filma. Ne bih išao toliko daleko da kažem da se prepoznaje Elem Klimov (koliko shvatam scenarista i prioducent Aljoša Klimov nije Elemov sin) u kadriranju scena ali svakako da postoje neki uticaji igranog WW2 filma na planu izbora planova u kadriranju i sl. Uvođenje novih elemenata u često vrlo predvidljivi svet anime vizuelizacije je dobrodošao.

Film traje 70ak minuta, i jedan deo trajanja nadoknađen je slično BEOGRADSKOM FANTOMU, odnosno mockumentary iskazima učesnika, stručnih saradnika, psihijatara i istoričara i to filmu daje jedan poseban šmek i uopšte ne remeti ukupan utisak.

U tom smislu, kada traje anime akcija, a ona u principu ipak zauzima daleko najveći deo filma, nema ustupaka i sve je vrlo dinamično. Autori vrlo dobro konstruišu akcentovane situacije, prelomne tačke u priči i karakterima i čini se da je film upravo zbog svog niskog budžeta upravo pošteđen onoga u čemu se anime film realno najslabije iskazuje a to su intervali odnosno deonice koje malo spuštaju intenzitet akcije i konflikta pred sledeću akcentovanu situaciju. U tom smislu, mockumentary je mudro rešenje. U svakom slučaju, iako verovatno jeste, mockumentary segment zaista ne izgleda kao cop out već kao jedan cool dodatak. Neko će reći da je izbegavanje scena-intervala u anime filmu izbegavanje onoga što je teško i to je možda tačno, ali meni je lagla ta cormanovska snalažljivost, kao što mi je bila sasvim u redu i u FANTOMU.

Kad je reč o samoj priči, zaplet, lokacije, ambijenti i junaci su odlično postavljeni. Pulpy postavka savršeno funkcioniše u anime miljeu, a istorijska istina u koju je sve smešteno daje priči zapravo nekakvu mitsku auru. Reklo bi se da monumentalnost Istočnog fronta kao mesta i događaja daje svemu jednu posebnu težinu upravo u ravni binarnosti bajke, odnosno borbe Dobra i Zla.

Isto tako, stileme mange su dobro integrisane u priču, tako da steampunk rešenja postoje ali nisu prenaglašena, anime chicks postoje ali funkcionišu u kontekstu (obratiti pažnju na undercover Nemice), i stilizacija je krajnje uravnotežena.

Što se eventualnih primedbi tiče, svakako je kraj mogao doneti klimaktičniju bitku, međutim zaplet koji dovodi do kraja je sasvim dovoljno dinamičan da relativno jednosmeran kraj u kome nema puno napetosti može da stoji i kao neka vrsta kode.

Ono što se može uzeti kao generalna primedba jeste i to da nam je anime kao filmska forma do sada prižio masterpisove od po dva sata sa izgrađenim situacijama i detaljnim set-pieceovima, dočim FIRST SQUAD generalno drži svoje situacije dosta kratkim iako ne i nedorečenim. Razloga za to je možda i to što se koketiralo sa idejom da ovo bude pilot za TV seriju koji je pretvoren u film. Međutim, ja moram priznati da se nisam osećao ni prevarenim ni uskraćenim jer su nove stvari koje film donosi i privlačnost miljea u kome se dešava sasvim dovoljni da prevaziđe to što nije full-blooded anime rampage od 110 minuta. Iako su na ovom filmu radili Japanci, reč je ipak o korpodukciji i mislim da je ovo odličan prvi korak.

o kulturološkoj dimenziji toga da je snimljen anime film o sovjetskoj borbi sa nacistima, na Istočnom frontu, ne treba trošiti reči. To je zaista tema za jedno vrlo ozbiljno razmatranje spajanja pop kulture i istorijskih događaja od izuzetnog značaja za izgradnju kulturnog identiteta. Isto tako, slično DISTRICT 9 i EDIT I JA, ovaj film suštinski ima tu retko viđenu autonomiju koja postaje sve aktuelnija u poslednje vreme a to je da se apropriraju strane žanrovske matrice i primenjuju na priču sa lokalnim likovima, bez ikakve intruzije stranaca koji inače imaju pravo da im se dešavaju takve priče. Na neki način, u ovom filmu Japanci imaju snažan kreativan pečat više kao pomagači u artikulisanju filma i tehničkoj realizaciji nego što utiču na samu supstancu priče kojoj su pozajmili samo stil.

FIRST SQUAD je izuzetno interesantan pokušaj koji na samom kraju nudi mogućnost nastavka iako stoji kao nesumnjiva standalone celina. Kako sam se ogradio na početku, ne znam gde ovaj film stoji danas u svetu anime, ali je što se mene tiče, u svetu ratnoh i isto;oevropskog filma, zaista predstavlja osveženje bez sumnje i treba ga pogledati.

* * * 1/2 / * * * *
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

Mica Milovanovic

#3001
22-01-2010, 19:59:54
Mogu li da pitam nešto što me već neko vreme zanima?
Da li kod ocenjivanja (zvezdice) domaćih filmova imaš blaži kriterijum nego kod stranih, ili su ocene univerzalne?
Mica

crippled_avenger

#3002
22-01-2010, 20:59:16
Imam blaži kriterijum. Znatno blaži.

Mada, naravno, zvezdice su tu čisto da upute na prioritetnost gledanja nekog filma, po mom mišljenju, nisam od onih koji misle da se filmovi mogu egzaktno ocenjivati.

Drago mi je što ste pitanje o domaćim filmovima postavili posle komentara o jednom ruskom. Sviđa mi se način na koji razmišljate. :)
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

Mica Milovanovic

#3003
22-01-2010, 21:32:51
Hvala. Nemoj mi persirati, molim te...
Mica

lilit

#3004
22-01-2010, 21:44:50
Persirao i meni, a da nece tebi.  xrofl Ipak je on jedan lepo vaspitan decko. Srecom, prestao je brzo, a mislim da sam i ja zavapila isto sto i ti. :)
That's how it is with people. Nobody cares how it works as long as it works.

Meho Krljic

#3005
22-01-2010, 22:29:05
Daymnnn. Meni nikad nije persirao, a ja stariji od tebe.

lilit

#3006
22-01-2010, 23:16:49
Ma to nema veze s godinama vec s autoritetom.  xrofl
That's how it is with people. Nobody cares how it works as long as it works.

Джон Рейнольдс

#3007
23-01-2010, 01:24:37
Meni je poslednji put persirao kad sam kao kajronista radio "Dimitrijev dnevnik", a i to je bilo samo jednom.
America can't protect you, Allah can't protect you... And the KGB is everywhere.

#Τζούτσε

crippled_avenger

#3008
23-01-2010, 01:56:49
Au, Johne, koliko sam novca dao shrinkovima ne  bih li to potisnuo. I sad se sve vraca.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

Джон Рейнольдс

#3009
23-01-2010, 12:19:24
To što si mi persirao? Što si toliko na kraj srca, nisi mogao da znaš kuda će nas životni putevi potom voditi. A i rekoh, bilo je to samo jednom.

S tim u vezi, postoji neka mala mogućnost da negde u svojim spisima imam košuljicu za "Dimitrijev dnevnik". Naime, na poleđini sam zapisao jedan svoj potpuno bizaran san, pa sam sačuvao ceo taj papir.
America can't protect you, Allah can't protect you... And the KGB is everywhere.

#Τζούτσε

crippled_avenger

#3010
23-01-2010, 16:07:51
Ne što sam ti persirao. Moja sećanja na ekipu te emsije su pozitivna. :)

Govorim o celoj emisiji. :)
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3011
23-01-2010, 18:59:39
Još malo Popboksa u senci:

Motion City Soundtrack - My Dinosaur Life (Sony, 2010)

Motion City Soundtrack već poslednjih nekoliko godina pokazuju koliko je teško naslediti i zameniti Weezer i Blink-182 na polju naizgled nepodnošljivo jednostavnog pop punka ili power popa. Iako su do sada uspeli da se izbore za mejdžor ugovore, da se istaknu veštim wordplay rešenjima kao što je njihova najbolja numera u karijeri "Fell In Love Without You", MCS ipak nisu uspeli da postanu metadonska zamena za narečene uzore. Ipak, zanimljivo je da ni industrija ni kritika još uvek nisu sasvim odustali od podrške MCSu u pokušaju da postanu Blink umesto Weezera iako su mnogo brže okrenuli leđa nekim realno potentnijim kandidatima kao što su Pink Spiders.

Na njihovom novom albumu, mesto producenta zauzima Mark Hoppus iz Blinka, međutim ni on ne uspeva da izleči sterilnost njihovog rokenrola. Dok se interesantan wordplay nalazi u naslovima numera kao što su "Weakend" ili "A Lifeless Ordinary (Need a Little Help)", uprkos tome što se bave formom u kojoj generičnost nije mana, MCS nepogrešivo promašuju da napišu hit. Različiti vokalni aranžani koji su u rasponu od standardnog NoFX/Blink-182 višeglasja do nekih izleta put Morrisseya (Disappear) deluju više kao potez očajnika nego kao neka vrsta pevačke raznovrsnosti.

Izlišno je najglašavati da bend sa ovako suženim muzičkim diskursom nema šta da ponudi izvan efektnih party tunes, radio hitova ili banalnih i baš zato neodoljivih emo komada, a nažalost ništa od toga se ne može naći na ovoj ploči koja je nepotreban detalj čak i za najfanatičnije ljubitelje žanra.

Atheist Rap - Priče matorih pokvarenjaka (Slobodan download, 2009)

Složićemo se da u poslednje vreme nije previše teško nači besplatan download bilo kog albuma čak i iz digitalno zaostalijih kultura kao što je naša, te album dat za besplatno skidanje u tehničkom smislu nije ništa naročito ekskluzivno. Međutim, kada to učini jedan od najtiražnijih srpskih bendova ipak jeste vest vredna pažnje. Iako postoji i CD izdanje za fanove sa adekvatnim benefitima, Atheist Rap su dali svoj album za besplatan download preko sajta srpskog zastupnika kuće Converse. Taj potez se uklapa u internacionalni trend povezivanja brendova i muzičara, i ne bi predstavljao ništa naročito ekskluzivno kada ne bi bio atipičan za Srbiju iz prostog razloga što su vrlo retke korporacije koje koriste rokenrol za promociju pošto kod nas ova muzika ne nosi adekvatan publicitet i uticaj na terenu. U svakom slučaju, gledano čisto teorijski srpski Converse učinio je nešto što bi teško pošlo za rukom i njihovj glavnoj filijali a to je da u okviru svoje kampanje ima stari punk bend neokrnjenog kredibiliteta (iako to nije lako, setimo se bizarnog srozavanja Atheistovih komšija Zbogom Brus Li).

Kad je reč o muzici koju ovaj stari bend donosi stvari stoje malo drugačije. Iako Atheist Rap nisu upadljivo sklerotičniji od svojih ispisnika širom sveta, "Priče matorih pokvarenjaka" nisu mnogo drugačije od poznih albuma velikih ali već potrošenih uzora poput NoFX. To su pesme napravljene po već istrošenim formulama koje samo neki mlad i prenapaljen bend može da oživi. Bilo bi licemerno nazvati ih slabim, ali dosta je teško doživeti ih kao istinski kvalitetne.

Atheisti nisu više bend koji može da u potpunosti reanimira formule. Međutim, sa zrelošću stekli su jedan atribut koji se mora poštovati. Što su stariji sve su ortodoksniji i sve je manje pokušaja crossovera ili crowdpleasinga. U tom smislu kod benda koji je ovako predvidljiv teško je izdvojiti neki favorit za iPod. Ali, ako već mora da se izdvoji neka stvar, onda neka to bude "Njanjava" koja odskače od opšteg bekrijsko-kontraškog angsta svojom banalnom ljubavnom temom. Uostalom, ako iko ima bestidnije ljubavne pesme od metalaca to su upravo punkeri. Otud je zanimljivo kako niko nije parirao posprdnim tekstovima o metalskim baladama jednim o nemaloj tradiciji punk gafova na istu temu.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

Джон Рейнольдс

#3012
23-01-2010, 19:06:30
Tjah. Ovo o Ateistima, samo u mnogo manje reči, napisao je DušMan posle koncerta Sperera pre oko pola godine.
America can't protect you, Allah can't protect you... And the KGB is everywhere.

#Τζούτσε

crippled_avenger

#3013
23-01-2010, 19:54:56
Pa nema o Ateistima šta drugo da se kaže. Mislim, to je to. I što se mene tiče, to je sasvim u redu za veteranski sastav.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

Meho Krljic

#3014
23-01-2010, 20:09:11
Da i ja sam slično napisao na pravom Popboksu.

crippled_avenger

#3015
23-01-2010, 20:20:54
Tako je. Meho je još stručnije obuhvatio tu opštu ambivalentnost njihovog albuma, sa još preciznijim refrencama.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3016
24-01-2010, 21:29:20
Proteklih dana sam pogledao nekoliko filmova, međutim, počeću od najsvežijeg. To je ANGEL OF DEATH Paul Etheregea. Ovaj film mi je izuzetno lepo prijao, ne osporavam mogućnost da je to proisteklo što sam pre njega gledao DR. M i AN EDUCATION pa mi je art house izašao na nos. Iako, Etherege kao ime ne obećava previše, imajući u vidu da mu je prethodni film HELLBENT koji mi je bio interesantan isključivo kao curio jer je reč o slešeru pravljenom o gej zajednici za gej publiku, ali realno nema tu mnogo istinskog kvaliteta. Međutim, Etherege u ovom filmu pokazuje potpuno drugo lice i ispistavlja se kao vrlo snalažljiv i ekonomičan reditelj koji na mikrobudžetu uspeva da snimi vrlo solidan i energičan materijal.

ANGEL OF DEATH je DTV film kompiliran iz web serije koju je pisao Ed Brubaker, krimi pisac i strip scenarista. Epizodičnost web serije se uopšte ne oseća kao problem, i priča ne deluje iscepkano, iako je otprilike jasno u kojim scenama su bili šavovi između epizoda. Brubaker je napisao vrlo sveden i efektan scenario koji ne donosi ništa novo, ali sve to staro što radi ostvaruje vrlo solidno, i što je još važnije Brubakerov scenario je dobar predložak za ovu vrstu produkcionog minmalizma koji se sreće u web serijama. Brubaker se u ovoj priči koristi klišeima krimića, hardboiled hitman filma i plasira ih sa pravom B-ubedljivošću. Ono što je definitivno seveže u ovom filmu prvo je produkcioni format. Web-serije su po definiciji vrlo jednostavna i jeftina forma i reitelji su primorani da budu inventivni. Prevačene sa weba i spojene u DTV film, samim tim ove epizode donose jednu novu dozu low budget inventivnosti DTV filmu što većini ovih naslova nedostaje. Po miljeu u koji je smešten, ANGEL OF DEATH najviše podseća na GIVE EM HELL MALONE, jer Btubaker ne može pobeći od tog comic book senzibiliteta, koji deo publike automatski asocira na SIN CITY. Međutim, Brubaker se naprosto hrani istim uticajima kao i Miller. Iako, Etherege nema iste uslove kao Mulcahy u baroknom MALONEu, u svojim svedenim okvirima jako lepo realizuje tu priču.

Drugi element svežine je Zoe Bell koja je posle uloge kod tarantina očigledno nastavila da radi birajući zanimljive uloge. U 2009. posle WHIP IT uradila je ovo i zaista to su dva atipična i upečatljiva ostvarenja. Pretpostavljam da Gina Carano koju sada hypuje Soderbergh ima veći star potencijal, ali Zoe Bell kao naslednica velikog ozploitation stuntmana Grant Pagea, i ima apsolutni street cred što se tiče stuntove, što se vidi i u ovom filmu. Njena gluma je u underplayu, bez rizika, bez mogućnosti za grešku a akcioni prizori su odlični u tom klaustrofobičnom low budget maniru.

Ono što je možda i ključni kvalitet filma ANGEL OF DEATH je da se radi o filmu koji ne bi imao smisla sa većim budžetom, drugim glumcima, ili na velikom ekranu, on je takav kakav je. To je DTV i ponosi se time. Kao takav treba da bude i procenjivan. U svakom slučaju ANGEL OF DEATH je deo novog DTV talasa o kome sam već pisao.

* * * / * * * *
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

Meho Krljic

#3017
24-01-2010, 23:59:14
Zoe Bell je carica. ja sam ovo skino pre sto godina i svako malo se oštrim da pogledam i uvek se nešto ispreči. Poznato je da se na Brubakera ložim baš onakoodistinski (in a gay way, između ostalog). Pogledaću ga čim prije!!!

crippled_avenger

#3018
25-01-2010, 13:24:39
Edge of Darkness
(U.S.-U.K.)
By BRIAN LOWRY

A Warner Bros. (in U.S.) release presented in association with GK Films of a GK Films (U.S.)/BBC Films (U.K.)/Icon Prods. (U.S.) production. Produced by Graham King, Tim Headington, Michael Wearing. Executive producers, Dan Rissner, David M. Thompson, Suzanne Warren, Gail Lyon, E. Bennett Walsh. Co-executive producer, Jamie Laurenson. Co-producers, Lucienne Papon, Kwame L. Parker. Directed by Martin Campbell. Screenplay, William Monahan, Andrew Bovell, based on the television series written by Troy Kennedy Martin.

Thomas Craven - Mel Gibson
Darius Jedburgh - Ray Winstone
Jack Bennett - Danny Huston
Emma Craven - Bojana Novakovic
Burnham - Shawn Roberts
Millroy - David Aaron Baker
Whitehouse - Jay O. Sanders
Moore - Denis O'Hare

The backstory might be the most interesting part of "Edge of Darkness," and no, that doesn't refer to star Mel Gibson's somewhat checkered history. "Casino Royale" and "Mask of Zorro" helmsman Martin Campbell remakes a BAFTA award-bejeweled six-hour BBC miniseries he directed 25 years ago. Yet as with the recent "State of Play," the miniseries-to-movie transfor standing, relatively limited action should also dampen box office prospects.

Given his association with revenge plots both as a director and an actor, Gibson's first star turn since "Signs" and "We Were Soldiers" in 2002 is well suited and finds him in fine form. He's Thomas Craven, a tough Boston cop, who sees his only daughter, Emma (Bojana Novakovic), gunned down in front of him early on.

At first, the assumption is that some enemy of Craven's must be responsible. Yet Emma's fidgety demeanor and bouts of nausea soon point to another, more insidious culprit and a dense web of corruption -- one that involves the major government-connected corporation for which she worked, headed by the imperious Jack Bennett (Danny Huston) from a sprawling hillside facility.

Craven's search for answers also brings him into contact with a shadowy fixer named Jedburgh, wryly played by Ray Winstone, who seems content to let the cop pursue his mission so long as it doesn't interfere with his own. Haunted by visions of his daughter, Craven assures him, "I'm not gonna arrest anyone," but that doesn't mean there won't be considerable collateral damage as he begins overturning rocks.

Writers William Monahan ("The Departed") and Andrew Bovell have done their best to update the Thatcher-era politics of the original, but they're hampered by the glut of similarly themed fare conceived during the intervening quarter-century. They also devote considerable time to conveying Craven's psychological torment, which resonates emotionally but frankly bogs down amid the clue-sifting and revenge-seeking aspects of the plot. In terms of consistent visceral thrills, "Taken" this isn't -- despite Campbell's demonstrable flair for shooting action.

Darkness" is better served by its cast -- with Winstone's world-weary, conflicted character especially intriguing; it's too bad there isn't time for more of him. Then again, that's true of other supporting players as well, whose motivations -- including Emma's -- would surely benefit from more detail. (One amusing footnote: A senator in the movie is identified as a Republican from Massachusetts, which might have sounded laughable were it not for the unexpected results in the recent election there.)

Campbell's topnotch production team yields predictably polished results, but the director's decision to revisit the late Troy Kennedy Martin's teleplay, finally, feels lacking. And while this is hardly the only mid-'80s artifact being reanimated a generation later -- from the upcoming "The A-Team" to ABC's "V" revival -- "Darkness" returns with only its outlines intact, while lacking much of its edge.

Camera (Technicolor, Panavision widescreen), Phil Meheux; editor, Stuart Baird; music, Howard Shore; production designer, Tom Sanders; supervising art director, Gregory A. Berry; art director, Suzan Wexler; set decorator, Jay Hart; costume designer, Lindy Hemming; sound (Dolby Digital/SDDS/DTS), Pud Cusack; supervising sound editors, Alan Robert Murray, Bub Asman; assistant director, Jamie Marshall; second unit director, John Mahaffie; casting, Pam Dixon. Reviewed at Warner Bros. screening room, Burbank, Jan. 20, 2010. MPAA Rating: R. Running time: 117 MIN.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3019
25-01-2010, 13:35:23
Film Reviews
Edge of Darkness -- Film Review
By Michael Rechtshaffen, January 24, 2010 10:00 ET

Cast and Crew
Executive Producer: Gail Lyon
Executive Producer: E. Bennett Walsh
Executive Producer: Tim Headington
Executive Producer: Danton Rissner
Executive Producer: Suzanne Warren
Executive Producer: David Thompson
Producer: Graham King
Producer: Michael Wearing
Associate producer: Lucienne Papon
Director: Martin Campbell
Screen Writer: William Monahan
Screen Writer: Andrew Bovell
Director of Photography: Phil Meheux
Line Producer: E. Bennett Walsh
Unit Prod. Manager: E. Bennett Walsh
First Assistant Director: Jamie Marshall
Prod. Designer: Tom Sanders
Art Director: Susan Wexler
Set Decorator: Jay R. Hart
Costume Designer: Lindy Hemming
Special Effects: Bruce Sternheimer
Visual Effects Supervisor: Kent Houston
Sound mixer: Pud Cusack
Casting director: Pam Dixon
Unit Publicist: Blaise Noto
Cast: Mel Gibson (Thomas Craven), Danny Huston (Bennett), Bojana Novakovic (Emma Craven), Shawn Roberts (Burnham), Ray Winstone (Darius Jedburgh), Gbenga Akinnagbe (Actor)
Bottom Line: An intense Mel Gibson performance anchors this brutally effective crime thriller.
Taking on his first lead role since 2002's "Signs," Mel Gibson returns to form in "Edge of Darkness" as an agonized homicide detective determined to avenge the murder of his only daughter, uncovering corporate corruption and political conspiracy in the process.

If the subject matter seems familiar, it's likely because director Martin Campbell has returned to the scene of his highly regarded 1985 British miniseries of the same name, to largely explosive effect.

Whether the performance will deliver Gibson boxoffice redemption in the wake of his well-known personal issues will have more to do with audience response to the violent film's dark subject matter.

But at this juncture, the choice of vehicle would seen to be a smarter fit than, say, a frothy romantic comedy.

Relocating from the original Yorkshire to Boston, the film's focus remains essentially the same, centering on Gibson's Thomas Craven, a career cop whose adult daughter, Emma (Bojana Novakovic), is gunned down on the front steps of his home.

Driven by grief and guilt, believing that he was the intended target, Craven stops at nothing to track down her killer, but along the way he uncovers disturbing truths about her job at a top security-research compound with shadowy ties to the government.

Condensing a six-hour TV serial and turning it into a contemporary two-hour feature can be a tricky bit of business, as the makers of last year's "State of Play" discovered.
Screenwriters William Monahan ("The Departed") and Andrew Bovell ("Lantana") come close to pulling it off.

Although it has retained much of its grit and intrigue, bringing the original Troy Kennedy Martin script up to speed from its original mid-'80s nuclear-arms race context is another matter. Their attempts to update the political agenda result in a scenario that comes off a tad far-fetched where its villains are concerned.

But in between the two "Edge of Darkness" assignments, director Campbell did a couple of Bond pictures -- most notably "Casino Royale" -- and that raw, sinewy energy comes very much into play here.

He also has the ideal protagonist in Gibson's equally raw portrayal of a man with nothing left to lose, though his startlingly craggy appearance admittedly requires a few minutes of adjustment.

Also sturdy are the supporting players, particularly Ray Winstone as a quietly threatening government op with a license to clean up potential messes and Danny Huston as a nefarious corporate head honcho.

Technical assist is first class all the way, from Phil Meheux's evocatively murky cinematography to Stuart Baird's cut-to-the-chase editing and Howard Shore's edgy score.

Opens: Friday, Jan. 29 (Warner Bros.)
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crippled_avenger

#3020
25-01-2010, 13:56:13
The basis of director Adrian Grenier's latest feature, is to explore the relationship between the paparazzi and the celebrity through the eyes of teenage paparazzo Austin Visschedyk. When the 13-year old snapped a photo of Grenier (best known as Vincent chase in HBO's popular "Entourage"), little did young Austin have a clue that his life was about to change.

Turning the tables on the teen photographer, Grenier stepped on the other side of the lens in an attempt to mentor a teenager obsessed with the lure of the Hollywood lifestyle. Grenier develops a meaningful relationship with his camera-clicking young friend as he attempts to reconcile their mutual exploitation. Indeed, Grenier puts himself on the line here, trying to make sense of his own recently acquired fame.

"Teenage Paparazzo" is a highly entertaining film, confidently directed by an obviously talented filmmaker. The film certainly tries to further demystify this unending fascination we have with celebrity culture and the relationship between certain types of media and the Hollywood famous. There are interviews with celebrities famous for different reasons from Paris Hilton to Matt Damon and a caustic Alec Baldwin who offer their own unique perspectives, while his interviews with his "Entourage" cast mates are somewhat innocuous and irrelevant.

If this is a study of the impact of fame and celebrity, Grenier adopts the proposition that he is famous and a genuine facet of this celebrity culture. By making this film about his own celebrity, it seems that Grenier is adding to his own celebrity. In addition, the film's subject, this 13-year old obsessed with everything fame related, while clearly a smart kid, comes across as smug, bratty and eager to embrace a specific profession which further comes across in an unflattering light.

Some of "Teenage Paparazzo" is old hat and has been dealt with in other forms of media. We know it's dangerous, intrusive and can lead to tragedy, so what is Grenier doing that is particularly audacious? Not that much, but it his exploration of the nature of mentoring that becomes the dramatic core of Grenier's narrative which is often obscured by peripheral details and interviews that are out of place with his thematic concerns.

But what is evident that once "Entourage" is done, Grenier has a career as a filmmaker waiting in the wings, should he choose to pursue it. He does have a narrative eye, a wonderful visual sense of clarity and an eye for detail. While "Teenage Paparazzo" is not without its flaws, it is still the work of a confident and smart director who is bound to find his overall voice in the immediate future.
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crippled_avenger

#3021
25-01-2010, 16:08:38
Edge Of Darkness

24 January, 2010 | By Mike Goodridge

Dir: Martin Campbell. US. 2009. 117 mins.

Director Martin Campbell updates his classic six-part 1985 UK miniseries to a two-hour, US-set feature, and, even with plot and structure pared down, manages to remain faithful to the somber mood and dense conspiracy of the original some 25 years down the line.

    It's a deadly serious film, lacking some of the wit and droll characterisations which made the original miniseries more palatable

Although its paranoid trappings about nuclear weapons and radiation are more fitting to the eighties than today, Campbell's new Edge Of Darkness is a taut adult thriller which should be a mid-size early-year performer for Warner Bros in the domestic market when it opens on Feb 29 and for independent distributors who bought it outside the US who are releasing in the first quarter.

The film has been styled as a starring vehicle for 54-year-old Mel Gibson and will be a test for his star power as he looks to restore some luster to his market value after several well-publicised incidents in his personal life. He's still got charisma in spades, and plays the lead character, a tough Boston cop investigating the murder of his daughter, with haunted conviction. It's up to the audience to decide whether they believe in him.

As co-written by William Monahan, who won an Oscar for adapting Infernal Affairs into The Departed, Edge Of Darkness is a masculine affair bearing some similarities in tone to the Scorsese picture for its all-pervasive violence and high body count. But Campbell and Gibson work hard to sustain the emotional core of a parent grieving for a child even as the bullets fly.

Homicide detective Thomas Craven (Gibson) welcomes his daughter Emma (Novakovic) home to Boston for a vist; although she appears unwell, he prepares dinner. Just as they are about to sit down, however, the doorbell rings and she is gunned down on the steps of the house.

While Craven's police colleagues assume he was the intended target of the killing and she got in the way, Craven himself becomes suspicious when he finds a gun amongst Emma's possessions. He visits her boyfriend, who appears to fear for his life, and her employer Jack Bennett (Huston), the head of a private research facility called Northmoor which has various government weapons contracts.

As Craven investigates further, it becomes clear that Emma discovered shady goings-on at Northmoor and was trying to expose them. But Bennet and his associates – including high-ranking government officials and a mysterious fixer called Jedburgh (Winstone) – will do everything in their power to stop Craven from uncovering the truth.

It's a deadly serious film, lacking some of the wit and droll characterisations which made the original miniseries more palatable. Winstone's character especially – an Englishman in the US – has been darkened from Joe Don Baker's colourful Yank in London. And Gibson rarely cracks a smile as Craven, whereas Bob Peck managed some mordant humour that leavened the mood in 1985.

The writers have contemporised the conspiracy recipe to include a dash of Halliburton and a soupcon of terrorist warfare, but the villains from the eighties are the same – crooked government officials and private weapons manufacturers peddling mass destruction for profit. Plus ca change...
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crippled_avenger

#3022
25-01-2010, 20:48:21
Pogledao sam DR. M Claude Chabrola. To je Chabrolova parafrazagovog MABUSEa smeštena u futuristički hlandoratovski Berlin. Film je batiran na romanu Norberta Jacquesa koji je Chabrol adaptirao sa svojim saradnicima, i jedan od prvih i osnovnih problema filma jeste upravo hladnoratovski setting koji ne samo da nije razrađen, nije ni iskorišćen, a smešten je u nekakvu blisku budućnot u filmu iz 1990. godine. Dakle, Chabrol je na tom planu potpuno promašio u političkom smislu, i pošto je hladnoratovski setting već nefunkcionalan za sam zaplet, reklo bi se da je DR. M u startu bio jedna promašena vizija.

Po svom stilu, ponajviše podseća na Tavernierov LA MORT EN DIRECT. Međutim, iako LA MORT EN DIRECT nije najbolji Tavernierov film, Chabrolov iako je snimljen deset godina kasnije deluje zastarelije i nekako naivnije u svakom smislu u odnosu na BTa. Ovo poređenje ne stoji samo zato što oba filma imaju futurističku temu o medijskoj manipulaciji u istom evropskom settingu, već je vezano i za produkcija. Oba su koprodukcije u kojima Tavernier pokazuje kako se izvlači maksimum iz nepovoljne situacije koju korpodukcioni zahtevi donose u smislu zastupljenosti internacionalne ekipe, dočim Chabrol na svakom koraku prave ustupke tako da DR. M deluje karikaturalno u svom spoju poptuno arhaičnog rediteljskog postupka, konfuznog vođenja priče i glume po kojoj se vidi da se glumci među sobom ne razumeju.

Svakako, uprkos priličnom Chabrolovom nesnalaženju u ovoj vrsti filma postoji spoj perverzne radoznalosti u gledanju potencijalnog spektakla koji se raspada (naprosto DR. M sadrži suviše zanimljivih elemenata da bi se olako otpisao, i jedne vrste genuiguing momenata na uelbekovskoj liniji, u delu zapleta koji se bavi suicidalnom sektom kojoj je stožer jedno moderno letovalište. U tim deonicima film uspeva da pruži ponešto novo i dobro, u odnosu na ostatak manje više sveden na masu pogrešno iskorišćene produkcione raskoši.

Glumačka ekipa koju je Chabrol imao u ovom filmu je odlična i ona je jedan od slabo iskorišćenih potencijala ovog projekta.

* * / * * * *
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crippled_avenger

#3023
26-01-2010, 14:47:56
Još pre neki dan pogledao sam AN EDUCATION Lone Scherfig i jako je teškon sabrati utiske o ovom filmu, i to ne zbog toga što je na mene lično ostavio snažan utisak, pošto nije, nego pe svega zato što je vrlo neobičan. Naime, u prvom planu ovog filma je jedna u suštini klasična moralizatorska priča, kao nekakva apdejtovana verzija Mir-Jam, nesumnjivo odlično vođena i realizovana, ali isto tako nesumnjivo mir-jamična što u startu osporava neku ozbiljniju produbljenost ovog filma izuzev veštog baratanja stereotipima. Međutim, isto tako, film ima jednu dosta prikrivenu drugu dimenziju koja na intelektualnom nivou legitimiše to baratanje stereotipima i na svaku optužbu zaista se unutar samog filma može pronaći adut koji će ga braniti.

I tu nastupa moj osnovni problem u proceni ovog filma, jer AN EDUCATION me nesumnjivo jeste dojmio kao odlično realizovan mirjamični chick flick, koji ne zaslužuje da se tretira kao nešto ozbilujnije od toga. A opet u samom filmu su prisutni elementi koji ga objektivno čine promišljnijim nego što izgleda. Ukratko rečeno, ugođaji koji se pružaju gledanjem EDUCATIONa su nesumnjivi, ali dosta površni, a pre svega su namenjeni ženskoj publici i svima onima koji se tako osećaju. Dočim, suštinski kvaliteti ovog filma proističu iz razmišljanja o njemu, ukoliko gledalac oseti potrebu za tim posle gledanja, što će se verovatno retko dešavati.

Ono što se nalazi u toj pozadini koja nije eksplicitno vidljiva odnosno vidljiva je ali nije stavljena u prvi plan jeste pre svega kritika klasnog sistema Velike Britanije koji u priličnoj meri determiniše zablude glavne junakinje i podstiče njene probleme sa životnim odlukama i identitetom, čak i onda kada se te odluke donose u ravni mirjamičnih opredeljenja.

Rekonstrukcija epohe je vrlo solidna, stvorena je jedna fetišistička atmosfera Britanije sa početka šezdesetih a Lone svakako vrlo vešto vodi priču i izvlači maksimum iz glumaca.

* * * / * * * *
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Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3024
26-01-2010, 15:14:51
Pogledao sam BLOOD CREEK Joela Schumachera. Moram priznati da sam se radovao ovom filmu pošto je Joel ipak vešt i suštinski zanemaren reditelj, jednim velikim delom i zato što je dosta dugo bio precenjen.

BLOOD CREEK je film koji počne odlično i prvih 40 minuta Joel pokazuje da je vešt reditelj, upečatljive vizuelne i pripovedačke kulture. I onda od 40. minuta, film se raspada u paramparčad, pretvara se u jednu totalnu budalaštinu, grotesku, osmišljenu bez ikakvog ukusa i smisla. Od 40. minuta, Joel ima par scena koje su zanimljive, i reklo bi se nikada viđene, i to u hororu nije beznačajan argument, međutim potpuna beslovesnot priče, dupliranje groteksnotsi namera i izgleda glavnog negativca/monstruma i sl. čini da se u drugoj polovini te zanimljive scene potpuno obezvrede.

Ne čudio da je film na kraju završio na DVDu. Očigledno je da Schumacher posle godina rada na prestižnim i skupim projektima nije shvatio da se u svetu niskobudžetnog horora, geške ne mogu popravljati dosnimavanjem već da film naprosto samo bude bačen u đubre.

Što se tehničke realizacije tiče, Joel je maksimalno komptentan a ko imamo u vidu da ima već 70 godina i vrlo moderan. U tom smislu BLOOD CREEK je svakako tehnički dobacio do nivoa bioskopskog filma. Ipak, sasvim je razumljivo da je ceo koncept potpuno neodbranjiv u bilo kojim theatrical okvirima.

Otud se postavlja ozbiljno pitanje kako je uopšte neko odobrio snimanje ovakvog filma i šta je Joela gurnulo u celu priču. Reklo bi se da je na papiru eventualno ova priča delovala kao interesantan EVIL DEADičan film a da je Joel mislio kako će snimajući takav film pružiti publici nešto sveže i šokantno i u punom sjaju se vratiti u horor žanr u kome je svojevremeno imao uspeha. Međutim, očigledno da se senzacionalizam sa papira nije preneo na ekran, barem ne u ovako serioznoj rediteljskoj intepretaciji i da je ovo možda više bio materijal za nekog naivnog reditelja kakav je bio Sam Raimi.

Drugi adut ovog filma, pored odlične prve polovine jeste i to što nije dosadan čak i kada postane besmislen.

Za ljubitelje jugoslovenskog filma interesantno je da je direktor fotografije na BLOOD CREEKu bio hrvatski DP Darko Suvak koji je radio igrane filmove Lukasa Nole.

U svakom slučaju, BLOOD CREEK je interesantan curio barem kao saplitanje poznatog reditelja unutar žanra.

* * 1/2 / * * * *
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Nema potrebe da hvalis me, dobro ja to znam

Tex Murphy

#3025
26-01-2010, 17:55:31
QuoteZa ljubitelje jugoslovenskog filma interesantno je da je direktor fotografije na BLOOD CREEKu bio hrvatski DP Darko Suvak koji je radio igrane filmove Lukasa Nole.

Incidentally, u Nolinim filmovima valja jedino - fotografija.
Genetski četnik

Novi smakosvjetovni blog!

crippled_avenger

#3026
26-01-2010, 19:17:49
Mel Gibson kicks ass!

Exclusive Interview: Mel Gibson for "Edge of Darkness"email to a friend By Paul Fischer Monday January 25th 2010 11:22AM

Mel Gibson temporarily quit acting to focus on directing his passion projects. At 54 though, he decided it was time to come back, and come back he has done with a vengeance with "Edge of Darkness". Based on the British miniseries directed by Martin Campbell, who also made this big screen version, Gibson plays a Boston cop trying to uncover the truth about his daughter's murder.

Twenty-nine years after Gibson's very first interview with Paul Fischer, the pair spent some time talking about the film, directing and Vikings in this, his one and only online interview for the film.

Question: Now, after this period of time where you were behind the camera, and you focused on rediscovering the filmmaking side of you – why, at this particular juncture in your life, do you want to go back to acting again?

Gibson: Well, it just seemed like a good time to do it. I sort of missed it. I felt I'd like to try this again. I mean, the excitement of it sort of felt like I might have something to bring to it. I stopped because I felt I was getting stale. It's not that anything I did was horrific, but I felt that I was a little stale, and that I needed a breather and maybe walk away and see if I could come back and shed some bad habits, and maybe sort of mature with some better ones.

Question: Did this script somehow resonate with you on any kind of personal level as a father?

Gibson: Well, of course it did, yeah. It wasn't the script that necessarily brought me back, but it was just time to come back. It just happened to be the most compelling, best piece of material that I saw when it was time to come back. It could have been something else. But I dug it, and the players were good. You know, Martin and Ray and Graham King, and I thought, "Let's go, you know? This could be damn good." Andrew Bovell wrote a draft, and I thought, "You know, that's got some virtues." Then they got Bill Monahan on it, he sort of changed it a bit and it just kept getting better and better and better.

Question: Did you avoid watching the original miniseries?

Gibson: I watched the original miniseries in the '80s, obviously never realizing I'd be working on it and I really liked it. It was one of those things that I would stop and watch. I didn't do that with many things, but I watched that because I found it really fascinating. But I did not re-watch it though.

Question: Was any version of the script as political as the original, or was it felt that it needed to be toned down because of trying to reach a broader audience?

Gibson: I think that the political comment in the series was during that time of Thatcher with a lot of strikes, and the economy was up the creek. There was a lot of anger in the country and I think it just kind of soaked in that backwash. You saw signs of that anger, and that sort of malaise that was going on at that time. So it just had this kind of smell about it. With this and with it being under two hours, you kind of had to sort of like shove a few things out there.

Question: What about the darkness of it? This character goes through some pretty emotional changes.

Gibson: Yeah.

Question: It's very intense stuff. Was it easy for you to get back into that kind of psyche of a character?

Gibson: Oh, yeah. I think so. To realize who he is wasn't so hard. I mean, once you sort of understand Boston detectives, and stuff like that – and I met these guys. These guys are, like, they're tough dudes, but they're as soft as anybody else, in a way. They're just hardened by what they've done and they're by the book, well, the ones I met were by the book. They've all got families.

Question: Did you try to immerse yourself in the Boston cop culture as much as you could?

Gibson: Yeah. I hung with those guys. They let me know who they were. I observed. I let them know who I was. It wasn't so far away.

Question: There's a lot of physical stuff in the film. Do you keep in shape naturally or did you have to get back in shape for the fight scene?

Gibson: Well, the only thing I did with that was just I ordered a chiropractor for the day after because I knew what it was going to feel like. I knew I was going to wake up like road kill and I did. You don't bounce back as quick as you used to, and that guy's 25 right, and he's taking it easy on you. It's not a pleasant experience, you know. Things don't pop back the way they used to but it's okay. So long as it still looks good.

Question: Do you naturally stay in shape?

Gibson: I don't work out much. I try and eat right and exercise a little. That sounds horrible. I quit smoking so that's something in the right direction. There's no more fun things left. I just don't do anything fun anymore. But that's dying, isn't it? You die in stages, right? You let things go in pieces. It's more than halfway through, right?

Question: How different an actor do you think you might have been on this, given the last two movies you did as a director? Did you approach film acting any differently this time around?

Gibson: Yes, I think so, but I'm not sure. I know I approached it differently, but I'm not sure I can qualify how. I really can't. It's just a long time. That time away informs choices I'd make now that I wouldn't have made then. I think it's really hard to qualify what they were, but I think basically you're always really trying to look for some kind of level of truth, even if you have to adjust it for the camera or the situation, and whether or not you can find it – it's up to the audience member, whether they see it in your or not. How well you're lying to them.

Question: So do you think you approached acting any differently prior to directing "The Passion of the Christ" and "Apocalypto"?

Gibson: I think maybe a little less self-indulgent with it. I think from directing, you learn to be less indulgent with yourself. You kind of understand what it takes to do it, and you're more inclined to just get up there and do it. I think it's a young actor's thing, which is good. You've got to go through the process.

Question: As a filmmaker, you directed these last two movies for you. As an actor, do you have very different criteria?

Gibson: Well, I think you're always doing them for everybody else. I think one has to have in mind that you're sharing the story. And boy, if you lose sight of that, you're really in trouble.

Question: You didn't expect "The Passion of the Christ" to be what it ended up becoming, did you?

Gibson: No, I didn't expect it to resonate so much. I really didn't. That shocked me. I was making it for myself. But one still has to think, "Well, I'm an audience member. Would I want to see it?" The same with Apocalypto. People keep asking "Whoa, how'd you do that?" That's why I can't wait to get my teeth into this Viking thing with Leo.

Question: So as a director, that's your next thing?

Gibson: I think so. I think it's the Viking movie.

Question: Is it going to be really violent? "Apocalypto"-type violence? I mean, is it going to be that intense?

Gibson: What do you think? I mean, who were the Vikings? Probably the worst bunch of motherfuckers –

Question: I know, savages.

Gibson: Savage animals. I mean, animals. And nice at home, but as soon as they get to somebody else's place, they were monsters.

Question: And you're doing it in –

Gibson: Well, what else? Old Norse. Otherwise, it's not scary.

Question: You really don't like movies that take risks, do you?

Gibson: Well I believe that's actually a safer bet. I mean, it's going to be very effective.

Question: Who are you casting in that?

Gibson: Leo DiCaprio.

Question: And he's going to speak in Old Norse?

Gibson: I hope so... and you're going to see him in a different way, because I'll make sure you do. Even he'll be surprised. [LAUGHTER]

Question: Now, you also did this movie with Jodie Foster, "The Beaver". So did you just decide, "You know what? It'd be nice to do something that I could just be completely ridiculous."

Gibson: Yeah. It wasn't completely ridiculous. It was actually pretty serious shit. I mean she's serious as a heart attack, this gal and she's amazing. She's focused, she's intelligent and she had something to say with this film. It's not a goofy story, man. It talks about clinical depression and about how people cope with it. Okay, it's got a very bizarre aspect to it, like there is a beaver puppet, but she's playing the fucking thing for real, dude. It's a guy using a puppet to survive. It's like the full-on comedy. It sounds like it should be.

Question: How did Jodie surprise you as a director?

Gibson: She always surprises me. No matter what she does, she surprises me. She held onto a truth and a conviction and a vision and sometimes I'm like, "Well, that is ballsy, girl, but I'll go with you." You know? And off we went, you know? It was fun.

Question: How surprised are you that George is doing a new "Mad Max"?

Gibson: Not at all. He's been planning it for years.

Question: Would you do a cameo? Is he begging you to do a cameo?

Gibson: No, not at all. We've talked about it. We said – "Hey, how you doing." You know, we've cleared it. It's no biggie. No biggie. It's his franchise. It's his to do with as he wishes and I'm looking forward to seeing it. Good luck to him. I mean I think he's a genius. Everything he does, everything he turns his hand to, is somehow, extraordinary. So, I can't wait to see what he does with it.

Question: Is there a character you'd like to revisit? Martin Riggs is definitely – out.

Gibson: Boy, Riggs has been put through the wringer, I tell you. Who'd I like to revisit? Hamlet. Yeah [laughs].

Question: When do you plan on starting the Viking film, and would you like to work in Australia again?

Gibson: Yeah. I would say that if we did the Viking thing, it'd probably have to be down in the southern hemisphere anyway, to take advantage of the light. I'm not sure, really, where to film it. Would I like to work in Australia again? Of course. I will. I don't know on what yet.

Question: As a director?

Gibson: Yeah. As a director, I want to get down there because there's such talent there. It's flowing out of the place. It's getting over here. [LAUGHTER] It's swimming over here.

Question: I know. They're everywhere.

Gibson: They're everywhere!

Question: Those bloody Australians. Are you happy? Is this the happiest you've been, do you think?

Gibson: I'm pretty happy, yeah. I'm pretty happy.

Question: It's been a pretty interesting few years for you.

Gibson: Are you kidding? It's all over the joint. It's all over the place, llike a mad woman's lunch. But hey, it's not boring and sometimes it's painful, sometimes it's blissful, sometimes it's joyful. It's all over the place, but it ain't boring.

Question: Was there a point during your period off that you considered not coming back?

Gibson: Yeah, of course, yeah. Probably further toward the beginning and then as time went on, you think eh, maybe I should try again. You don't know. That's why I didn't make some big pronouncement, "I am quitting, I'm retiring." I didn't want to do that but I just thought I'd back away for a while.

Question: Were you discouraged or tired?

Gibson: Just tired and bored with it, you know. I've done that a couple o' times. I just walked away and just spent a year not doing it, do something else. I think it's a natural thing. As soon as something starts getting a little tedious and you want to spice it up again, you kind of have to change it.

Question: Are you a protective dad in real life, and is it especially hard with daughters?

Gibson: Yeah, well, I think I am a protective dad. I've never really been in situations, fortunately, where the kids have been in some of harrowing dangerous experience. I related one the other day. It's pretty basic. I remember I went to the pharmacy to buy some formula for my newly born twins. They're now 27. I brought my 21 month old to the pharmacy with me because my wife was occupied with twins. It was in Coogee in Sydney. There was a pharmacy right on the corner and then there was the Coogee Bay road, really busy road.

We had a nurse from New Zealand at the time who used to help out during the day and go home at four. So it's that time, we're in the pharmacy, I'm buying formula and I take my eyes off the child for a second. The next thing, I look up, I'm saying, "Well, what's the difference between this one and that?" I look up and I see my child standing about maybe 25 yards away on the edge of the curb and the nurse at a bus stop on the other side with traffic blowing in front of her waving her hands in a 'no' gesture. My kid was going out there to say hi to her.

Well, okay. 25 yards and not much time to get the kid. So needless to say, there's an old man with broken ribs and a lady with a footprint on her face. I completely wrecked the place to get to my kid. I broke everything and ran through things and lifted things and threw them out of the way to pluck her out before she got struck by a car. So yeah, you'll do anything for your kids, even kill somebody. [Laughs] But the poor woman, I had to apologize to a lot of people afterwards and they didn't understand. They get very angry of course because you've knocked an old lady over.

Question: Have you learned anything exciting while you were recharging away from the industry?

Gibson: Well, I didn't really get away from the industry. I learned a lot about the industry. I learned about writing. I learned about conceiving, from conception to writing, bringing that to the screen to sort of mounting a film to producing it to directing it to actually single handedly marketing and distributing and doing everything except exhibition. I think I did it. It's almost kind of the full thing. Now I bought a bunch of theaters in Australia, the Dendy chain. So I'm an exhibitor as well.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3027
26-01-2010, 23:11:39
Interesantno je kako Rumunija odlično izgleda kod Schumachera. Zaista se ne bi reklo da je tamo sniman film.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

Ghoul

#3028
26-01-2010, 23:35:07
ni za HAUTE TENSION se ne bi reklo, pa opet... rumunija do francuske!
https://ljudska_splacina.com/

Tex Murphy

#3029
27-01-2010, 10:23:55
Rumunija je svakako prekrasna zemlja. Peh je jedino što je puna Rumuna.
Genetski četnik

Novi smakosvjetovni blog!

crippled_avenger

#3030
27-01-2010, 12:25:06
Reprizirao sam KAFKU Stevena Soderbergha. Jako sam voleo ovaj film kao klinac, čak sam na fakultetu pisao jedan scenario po uzoru na njega, tako da mi je bilo zanimljivo da ga obnovim i vidim kako sada stoji.

Iako se ne može reći da je KAFKA u potpunosti uspeo film, mislim da to nije totalni promašaj kako su ga proglašavali u vreme izlaska i smatrali ga potpunim Soderberghovim sunovratom. Ono što je osnovni izvor neravnoteže ovog filma jeste zapravo pitanje senzibiliteta koji je primenjen u kombinovanju Kafkine ličnosti, Kafkine proze i potencijalnih filmskih implikacija koje su proistekle iz toga. Naime, Soderbergh prilazi izuzetno racionalno spajanju pisca, njegove ličnosti i njegove proze, a samoj prozi prilazi kao predlošku iz koga se mogu izvući mnogi uticaji, pre svega na film. Međutim, Kafkina proza je mnogo intimističkija nego što je Soderbergh tretira i njegov pokušaj da kroz fikciju eksternalizuje neke njene segmente zapravo nije tačan. Međutim, slagali se mi ili ne sa idejom da u filmu o Kafki, kao piscu i opusu, odnosno inspirisanom piscem i opusom, Soderbergh ide toliko daleko da namecheckuje Murnaua, Orlaca i da finale bude u koloru sa kenadamovskom scenografijom, KAFKA je jedan izuzetno energičan i zanimljiv arty triler koji uprkos konstantnom bekstvu od mejnstrim senzibiliteta, zapravo najbolje funkcioniše kao entertainment, i zbog tog utiska upravo je najpogrešnije čitati ga u ključu vezanom za Kafku.

Soderbergh je u ovom filmu najavljuje opsesiju kojoj će se kasnije u nekoliko navrata vraćati a to je rekonstrukcija stilema starog filma, naročito noira, i time će se najeksplicitinije baviti u THE GOOD GERMAN. Uostalom, zar nije neo noir i bio put Soderberghovog povratka u Prvu ligu preko OUT OF SIGHT, odličnog filma, koji smo već zaboravili zbog njegovih lutanja.

Ne treba zanemariti ni uticaj Lem Dobbsa, Soderberghovog scenariste koji je sličnu atmosferu postigao i nešto kasnije u filmu DARK CITY ali koji nažalost dosta retko radi iako slovi za pisca nekih od najboljih nesnimljenih scenarija u Holivudu.

Interesantno je uporediti KAFKU kao izrazito racionalan, reklo bi se paradoksalno holivudski film uprkos svojoj ogromnoj arty pretenziji, sa PEŠČANIKOM Sabolča Tolnaija koji pokušava nešto slično, prepliće Danila Kiša sa delom, isto je crno-beli, ali je do te mere iracionalan da se film raspada pod tim pritiskom.

* * * / * * * *
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

Tex Murphy

#3031
27-01-2010, 17:47:55
Hej, odlično da si ovo reprizirao! Podsjeti me molim te da li se u filmu eksplicitno navodi da je u pitanju FRANC Kafka? Meni se nekako čini da njega oslovljavaju isključivo po prezimenu, ali sad film gledao jako davno, pa ne mogu da budem siguran.
Genetski četnik

Novi smakosvjetovni blog!

crippled_avenger

#3032
27-01-2010, 17:52:49
oslovljavaju ga sa kafka. ima čak i diskusija e sad možda ima negde da kažu i franc, ali mislim da ne i da je to fora.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3033
27-01-2010, 17:58:38
Massawyrm returns from the EDGE OF DARKNESS and proclaims it the return of the Mel Gibson we love!

Hola all. Massawyrm here.

Before you walk into this, you have to ask yourself something. Gibson has been gone for three and a half years; he hasn't acted (as a lead) in eight. He's been taking shit steadily since PASSION OF THE CHRIST and became a national joke (at best) after his drunken roadside arrest in 2006. Since then he's done AA and gotten a divorce. But he has a legendary career filled with classic films and Oscar wins. So with all the shit he's going to take, all the jaded interviews, all the op-eds about his statements, every bit of tabloid dirt that is going to get tossed around, and a real Hollywood legacy at stake, you have to ask yourself this: how good does a script have to be to get a guy like Gibson to step out in the open and face all that? Once you've answered that for yourself, you begin to get an idea of how good EDGE OF DARKNESS really is.

If EDGE OF DARKNESS weren't a pre-established property based upon a mini-series from the 1980's (which was, like the film, also directed by Martin Campbell) one might believe it was a film cobbled together with from a series of ideas based upon all of Mel Gibson's best films. Instead, it is a script that so plays to everything that Gibson does well and loves to star in, that it is incredibly clear why this script resonated with him. It's about a father who watches his daughter gunned down in front of him, sets out to solve the murder only to uncover a vast conspiracy filled with sinister characters and then has to get some hardcore revenge on some very bad people. Meanwhile, he's hallucinating moments and conversations with his dead daughter who meant the very world to him. And come on, if there's one absolute Hollywood law, dating all the way back to MAD MAX, it is that you DO NOT FUCK with Mel Gibson's family.

This evokes all of the very best moments and ideals of a Mel Gibson movie without ever being so crass as to rip them off. Gibson hasn't been this good in a LONG time. He comes out swinging in this like he really has something to prove. He seems hungry, and his portrayal of grief-stricken father Craven is incredible. This isn't just a manly role; it is a MAN'S MAN role. This is a character for The Duke in his prime. Or Yul Brynner. Or Charlton Heston. He's not a guy you expect to walk up and kick everyone's ass. He's the guy who has been kicking everyone's ass for thirty years and doesn't take shit from anybody. Craven is simple man, yet a smart man. He loves his daughter, he loves his job and he tries every day to do right by both. And when that goes sour, all he has left is putting a little boot to ass the good old fashioned way.

The film hits all the right notes, playing this as a slow burn thriller light on the score and heavy on the mood. It's a detective story, one that goes above and beyond that of a simple whodunit. To its credit, just as it seems to be losing a little steam, just as you think it is becoming your typical paint-by-numbers thriller, just as the villains seem a little too mustache-twirly, they drop the bomb on you and lay out an explanation that frankly earns every bit of tension they are trying to build. While it proves to be a simple story, it is one with very nuanced complications.

But taking the film to 11 is Ray Winstone, who shares a handful of really potent scenes with Gibson that are the very heart and soul of the movie. Winstone is fixer, a shadow dwelling string puller who gets called in when things are going really bad – and while he may be seemingly at odds with Gibson's Craven, he finds something of an unspoken bond with him and the two seem to share one of those classic style "forbidden friendships" built on a mutual respect. Watching these two powerhouses act off of one another is one of those simple joys that we just don't get to see in filmmaking often enough in this day and age. These scenes have a very Scott Brothers feel to them in terms of their simplicity, elegance and out and out badassery.

Martin Campbell has outdone himself again. Here's a guy who has a very hit and miss record punctuated by a few truly spectacular movies. This is one of those. Stylish, cool and incredibly well acted, the only complaint this will really garner will be about its pacing – something that noir fans will LOVE. I get why the studio is trying to sell this as TAKEN, what with being thematically similar and all – but it isn't that kind of film. This is closer to being a spiritual cousin of MYSTIC RIVER, MAN ON FIRE, and THE SEARCHERS. It isn't so much a film about showcasing action as it is showing a good man put in a very bad situation. But when the film does get down and dirty, it does so with all the trademark hard hitting brutality you've come to expect from Campbell.

Easily one of Gibson's greatest performances, EDGE OF DARKNESS is an absolute must see for anyone who has ever loved Mel Gibson. It's a film with a script so sharply written the words seem to float off of the page into the film, and while I'm not certain who did more work here – William Monahan or Andrew Bovell (It feels far closer to Monahan's DEPARTED and KINGDOM OF HEAVEN than anything Bovell has ever worked on), both will no doubt be quite proud to have this as a credit. There's nary an imperfection to be found. So how good of a script does it take to get Gibson to crawl out of hiding? THIS GOOD. Really fucking good. Highly recommended.

Until next time friends, smoke 'em if ya got 'em.

Massawyrm

Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3034
27-01-2010, 18:16:23
Ovo je senzacionalna vest. PASSENGERS spada među par najboljih scenarija koja sam ikada čitao i može da bude fascinantan film:

Director Gabriele Muccino ("The Pursuit of Happyness," "Seven Pounds") is in advanced negotiations to helm the sci-fi romance feature "Passengers" for Morgan Creek reports Variety.

Jon Spaihts's script is set in the future on a spacecraft making a centuries-long interstellar voyage to a new planet. Due to a computer glitch, a single passenger (Keanu Reeves) awakens from cryogenic sleep 90 years before anyone else.

Faced with the prospect of growing old and dying alone, he, in turn, awakens a beautiful woman. Stephen Hamel and James G. Robinson will produce with filming to kick off in the Summer.

Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3035
27-01-2010, 18:22:50
20 years later, greed's still good for Douglas in 'Wall Street' sequel
|   


  ABOUT THE MOVIE

About the movie:
Wall Street: Money Never Sleeps
Due: Spring





By Susan Wloszczyna, USA TODAY
NEW YORK — Gordon Gekko, that cutthroat swashbuckler of a corporate raider who once sneered "Lunch is for wimps," is holding sway over a table at a jammed Manhattan restaurant.

GALLERY: Exclusive first look at 'Wall Street' sequel
COMING THIS YEAR: More remakes and sequels

No, it's not an '80s flashback but a scene being shot for Wall Street: Money Never Sleeps, a sequel to the 1987 original due this spring that takes place more than 20 years later.

Instead of the ambition-served-raw atmosphere of the 21 Club depicted in the first film, the locale is Shun Lee, an Upper West Side institution where decorative demon-eyed monkeys dangle above the bar like mute witnesses. And rather than coercing a would-be high-stakes player into doing his shady bidding, Gekko is focused on reconnecting with Winnie, his estranged daughter whom he hardly knows after serving a hefty 14-year jail sentence for insider trading.

Just as he's about to seal the deal emotionally, he spies a familiar figure heading his way: Graydon Carter, the woolly-haired gatekeeper of Vanity Fair. He gets up and greets the editor: "It's Gordon. Gordon Gekko. Congratulations. Love the work you're doing."

Carter, clearly not recognizing the onetime Fortune cover boy, mutters, "Oh, thanks very much," before continuing to the door. Following right behind: Gekko's fed-up daughter.

On the surface, times have indeed changed since the first movie introduced this slick, suspender-sporting embodiment of Reagan-era capitalism. Anyone who has seen the film recently can't help but be taken aback by the now-ridiculous brick-size cellphone Gekko so proudly totes around. (That retro piece of tech as well as Charlie Sheen's Bud Fox earn cameos in the second Wall Street.)

But there was a recession then. There's a recession now. And greed, which Michael Douglas as Gekko so memorably declared as being good in the role that won him an Oscar, hasn't just survived. It has thrived amid easy credit, subprime mortgages and a nation that ignored the signs of a coming market collapse.

Which is the main reason why director Oliver Stone, who has made a good living out of documenting crucial moments in America's recent past with such movies as Born on the Fourthof July,JFK and World Trade Center, deigned to do his first sequel.

'Superficial rich'

"In my father's world, making a million was a ton," says Stone, the son of a stockbroker. "I come back to Wall Street now, and it's not a million dollars. It's a billion dollars. And a billion is nothing. They don't even consider that the beginning of a hedge fund. That is what is amazing about the '90s and 2000s — how rich people got. But it is a weird kind of rich. Maybe a superficial rich."

He passed on the initial script for a follow-up. But then Douglas and returning producer Edward R. Pressman brought him a new draft, and he finally bit. "I guess the crash, which happened in the meantime, made it more interesting. But I didn't want to do anything to glorify the pigs. Because they were pigs, and we know that."

It was the personal relationships between the characters that most attracted him. "We have three generations, and they are all vying for power."

Besides an older and bitter Gekko, there is Shia LaBeouf's Jacob Moore, a 20-ish hedge-fund trader who just happens to be engaged to Winnie (Carey Mulligan of An Education) and strikes a secret alliance with his future father-in-law. Plus, Josh Brolin is the new-style Gekko, a cold-blooded fortysomething investment banker named Bretton James who becomes Jacob's boss after his former mentor, played by Frank Langella, dies.

1987 was a very big year

For Douglas, 65, revisiting the white-collar icon — who rivals Hannibal Lecter in popularity when it comes to movie villains — is a pleasure, especially since he hasn't had a film with much cultural influence since he played a drug czar in 2000's Traffic.

Recalling 1987, he says, "It was sort of my year as an actor that really changed everything." Not only did he win an Academy Award as Gekko, but he also starred in the erotic box-office sensation Fatal Attraction. His biggest previous success was as a producer on the 1975 best-picture winner One Flew Over the Cuckoo's Nest. Before Wall Street, "People would say to me, 'Why do you want to act? Why don't you just produce?' "

He also welcomed the chance to reunite with Stone, who was on his own career high after 1986's Platoon won best picture and director. "He always creates a slamdance — it's in your face," Douglas says. "His style is halfway between a docudrama and opera. He threatened me the first time around. I mean that in the best sense. He tests you. He's a Vietnam vet. You are either in the trenches with him or you're not."

Gladly taking the leap into those trenches is LaBeouf, eager to show he can do more than skedaddle away from computer-generated metal giants in the Transformers blockbusters.

"It was a nice opportunity for me as an actor," he says. "I'm an Oliver Stone fan, the script was really good, and I knew it would be a really top-notch cast."

He impressed those around him by enthusiastically researching the heady world of proprietary trading, arriving in Manhattan 2½ months early to learn the ropes. And the attitude.

"It is a live-by-the-seat-of-your-pants mentality," he says. "I talked to a lot of Goldman Sachs people, and one of the requirements of getting a job takes place in the first five minutes of an interview. They take you out to eat. The minute the menu hits the table, if you can't order within 30 seconds, you don't have the job."

Being in the new Wall Street had some side benefits, such as when he put his newfound trading skills to work. "I opened up an account when I first met Oliver," LaBeouf says. "It was $20,000. This morning, it was $297,000."

Another plus: He and Mulligan, the 24-year-old British breakout star who probably will be in the Oscar race this year, became a couple off-screen, too.

"They are an item, and there you go," Douglas says. "I warned them, 'Don't ever do that.' But they are having a great time."

For those who think Gekko is reformed after being behind bars or undergoes redemption in the sequel, Stone assures that this is one creature who still has some tricks up his well-pressed sleeves. "He might have the charm of a Michael Douglas, but he is a reptile at heart."

Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3036
27-01-2010, 22:13:32
Sometimes with Axl Rose, all you need is just a little patience. Other times, you need a little more than a little. Guns n' Roses' Wednesday night concert in Winnipeg, Canada — their first North American date (and fifth show overall) since the release of Chinese Democracy in 2008 — was, thankfully, a case of the former.

Axl in action: check out photos from Guns n' Roses' marathon opening-night gig.

After making the world wait nearly a generation for his sixth studio album, and then keeping fans on hold for more than a year for a tour, Rose wasted little time getting down to business in the Great White North. The frontman and his septet took the stage shortly after 10:40 p.m. — practically a matinee for the notorious Rose. And once they got down to business, they certainly made up for any lost time, treating 7,500 fans at the city's MTS Centre to a high-energy three-hour marathon of new material and classic G n' R hits.

Following the basic template laid out on the band's Asian dates in December, they kicked open the doors with the title cut from Chinese Democracy, followed by the one-two-three punch of "Welcome to the Jungle," "It's So Easy" and "Mr. Brownstone" from 1987's Appetite for Destruction. From the moment Rose opened his mouth to scream, "You know where you are? You're in the jungle, baybeeee!" it was clear his corroded air-raid siren of a voice had lost little of its range, rage or power. Likewise, the rest of the band — guitarists Richard Fortus, Ron "Bumblefoot" Thal and DJ Ashba, keyboardists Dizzy Reed and Chris Pitman, drummer Frank Ferrer and bassist Tommy Stinson (formerly of The Replacements) — hit the ground running, tearing through most of Appetite and Democracy, with a few cuts from the 1991 Use Your Illusion albums (including covers of "Live and Let Die" and "Knockin' on Heaven's Door") sprinkled in for good measure.

Although he appeared to be in good spirits, between songs Rose kept fairly quiet, offering little beyond the usual thank-yous and how-is-everybody banter. In fact, for a guy who wields such a commanding musical presence, he spent much of the evening shining the spotlight on his bandmates, bolting from the stage during every instrumental break and introducing nearly every player for a solo segment (best of the bunch: Stinson's suitably snotty bash 'n' pop version of the Who's "My Generation"). Rose also posted a backstage photo on his Twitter, and wrote, "Excited 2 get this rolling. In r off time we'll b helping Mounties flush out Al Qaeda. (What's that aboot, Eh? jk)" in one of his first three tweets since the new year began.

The gigantic three-runway black stage and high-tech production — which included all the requisite video screens, moving light trusses, pyro, percussion bombs and confetti cannons — also commanded plenty of attention. But not enough to overshadow Rose's and co.'s triumphant return to North America. Now, you just have to wait for them to make it to the States. All you need is just a little ... well, you know.

Set List:

"Chinese Democracy"
"Welcome to the Jungle"
"It's So Easy"
"Mr. Brownstone"
"Shackler's Revenge"
Richard Fortus Spotlight
"Live and Let Die"
"Sorry"
"If the World"
Dizzy Reed Solo
"Street of Dreams"
"Better"
"You Could Be Mine"
DJ Ashba Spotlight
"Sweet Child o' Mine"
"I.R.S."
Axl Rose Piano Solo
"November Rain"
"Scraped"
"O Canada" / "Pink Panther" (Bumblefoot Spotlight)
"Out Ta Get Me"
"Knockin' on Heaven's Door"
"Nightrain"

Encore:
"Madagascar"
"This I Love"
Frank Ferrer Drum Solo
"Rocket Queen"
"My Generation" (Tommy Stinson Spotlight)
"Patience"
"Paradise City"
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

zakk

#3037
28-01-2010, 02:09:12
To je negde blizu sat ipo... Ako je izdržao a da ne krepa, dobro je...
Why shouldn't things be largely absurd, futile, and transitory? They are so, and we are so, and they and we go very well together.

crippled_avenger

#3038
28-01-2010, 09:50:19
Pogledao sam THE MARSEILLE CONTRACT poznat još i pod naslovom THE DESTRUCTORS Roberta Parrisha. Reč je o pristojnom krimiću smeštenom u Marsej koji se bavi intrigom oko nedodirljivog narko barona i očajnićkom pokušaju DEA agenta da ga se reši tako što će angažovati plaćenog ubicu da ga ubije pošto se ispostavilo da nikako ne mogu da skupe dokaze.

Parrish uprkos prilično neutegnutoj strukturi sa dosta praznog hoda uspeva da napravi interesantan krimić koji ima sjajne glumce i vrlo zanimljive lokacije i jedino što me nedostaje je to što nije napet. Doduše, Remy Julienne je napravio nekoliko vrlo dobrih car stuntova tako da se ne može reći da nema adrenalinskih detalja, međutim, nema nekog suštinskog suspensea i skladne strukture.

Ako se sve to uzme u obzir, ovaj naslov je samo za ljubitelje žanra ili fanove nekih od glumaca koji se u njemu pojavljuju.

* * 1/2 / * * * *
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3039
28-01-2010, 09:59:03
Mel Gibson is in talks to star in Universal Pictures' spy thriller "Cold Warrior."
Project reunites Gibson with "Lethal Weapon" scribe Shane Black, who is helming.

Based on a script by Chuck Mondry, pic centers on a spy from the Cold War era who comes out of retirement to team with a younger agent from the new school to confront a domestic terrorism threat orchestrated by Russia.

Pic will be produced by Michelle Manning ("The Eye"). David Greenblatt and Anthony Bagarozzi are also producing.Gibson has been absent from the bigscreen ever since his 2006 drunken-driving arrest, when he reportedly made anti-Semitic remarks. In the ensuing years, Hollywood's majors have been reluctant to cast the actor in a starring role, and Gibson has instead signed on to a number of independently financed projects, including "Edge of Darkness," which opens Friday. He recently completed production on Jodie Foster's "Beaver."

"Cold Warrior" marks the actor's return to toplining a studio-backed project.

Gibson will begin shooting in March the indie action drama "How I Spent My Summer Vacation," based on a screenplay he penned. He told Daily Variety that he is hoping to segue to "Cold Warrior" in June. Gibson also recently committed to direct Leonardo DiCaprio in a pic about Viking culture to be financed by GK Films. That pic has no start date.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3040
29-01-2010, 13:40:03
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3041
29-01-2010, 15:00:22
Koga zanima malo razglabanja o švedskim krimićima, there you go...

http://www.novikadrovi.net/phpBB3/download.php?id=11
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3042
29-01-2010, 18:45:09
Pogledao sam ZLATNU PRAĆKU Radivoja Lole Đukića. Ranije sam sporadično naletao na ovaj film kad je bio emitovan na televiziji ali nikada ga nisam odgledao u celini.

Reći da se radi o jednom dekadentnom ostvarenju je žestok understatement. Možda je ovo pravi film za analizu kroz opis onoga što se dešava.

Film je uokviren pričom koja se dešava u budućnosti u kojoj Čkalja igra bogataša srpskog porekla iz Amerike koji priča o dobu kada je njegov pradeda došao na tolo Amerike, bežeći od turskog zuluma i dinastičkih sukoba.

Ambijent u kome sedi "Čkalja iz budućnosti" je stilizovan i sadrži niz gedžeta koji prikazuju da je reč o budućnosti (prozori koji se otvaraju tapšanjem, lampe koje se gase duvanjem, automatizovane ruke koje dodaju flašu) ali da u svakom slučaju nije reč o nauci koja je išta suštinski promenila.

U daljini, u Čkaljinom futurističkom domu čuju se odjeci eksplozija. U jednom trenutku, on se uplaši da su to eksplozije koje odekuju u okolini i umiri se kada shvati da one dopiru iz Azije.

Čkaljini unuci se vide u susednoj sobi kao deca koja sviraju električnu gitaru, "treniraju" karate i provode vreme u nekakvoj dokolici.

To "treniranje karatea" mi je partikularno ljubak detalj.

Lola Đukić u ovim framing sekvencama sa početka i kraja filma eksplicitno ismeva kapritalizam, konzumerizam, eksploataciju kolonija i dokolicu Amerike što je vrlo interesantno jer se retko kada u našim filmovima videla ta vrsta otčkog diskursa u formi flah antiutopije, bez ikakvog drugog sadržaja.

Iako sam taj tekst realno nije big deal, ni ideološki ni estetski, jeste u kontekstu našeg filma.

Kada krene priča u epohi Divljeg Zapada, ona se može podeliti na dva segmenta.

Jedan segment je Đukićev komentar vesterna, i prikaza života na Divljem Zapadu koji je karakterističan za klasični vestern.

U ovom segmentu, Đukić se služi nizom avangardnih, gotovo tatijevskih rešenja. Recimo, američki junaci gotovo da ne izgovaraju rečenice, samo poneku reč poput "Yes". Ovoaj gotovo nemi uvod ispaćen je voiceoverom koji nije podvučen u celom trajanju scena već je prisutan sa ponekom rečenicom, preuzimajući funkciju natpisa iz nemog filma.

Ova deonica naročito sa pričom o muškarcima koji se ubijaju zbog malobrojnih žena jako podseća na ČARLSTON ZA OGNJENKU s tim što je u svojim formalnim rešenjima još ekscesivnija.

Naravno, u ovoj deonici, Đukić ubacuje dosta i ideoloških preimdbni na postupke koji su još u vreme Divljeg Zapada postavili temelje savremenog kapitalizma u Americi.

Drugi segment filma jeste ono što je zapravo i osnov high concepta kojim se Đukić služi a to je snalaženje grupe srpskih doseljenika na Divljem Zapadu.

Nui u ovoj deonici, Đukić ne iodustaje od ideološke dimenzje tu škakljiva jer se dotiče etničkih stereotipa vezanih za srpski narod.

Culture-clash je iznenađujuće dobro postavljen i Đukić ne izbegava element jezičke barijere već insistira na njemu.

Kao kontrast raspričanim Srbima, tu su kauboji i stereotipi sa Divljeg Zapada koji izgovaraju tek poneku, svima razumljivu reč engleskog jezika.

Đukić meastrelno uspeva da čisto filmskim sredstvima ostvari film o jezičkoj barijeri bez ijednog titla.

Kad je reč o razli u ponašanju primenjena je "srpska logika" u odnosu na običaje Divljeg zapada kaop što je tradicija dvoboja koju glavni junak automatski odbacuje kao "nečovečnu" i to ne iz poslovičnog kukavičluka.

superiornost Srna u odnosu na tipske junake zatečene na Divljem Zapadu proitsiče pre svega iz onih osobina koje krase Srbe iz viceva dakle domišljatosti, vešte manipulacije ključnim istorijskim događajima koji se koriste kao matrica za rešavanje aktuelnih problema, spoja oportunizma i otpora prema nepravdi.

Kao osnSrba na Divljem Zapadu akcentovana je nesloga koju promućurni glavni junak Sibin (igra ga takođe Čkalja) rešava tako što pto se prerušava u svog protivnika i šikanira ostale srpske doseljenike kako bi se ujedinili uprkos odsustvu solidarnosti.

Trenutak ujedinjenja Srba protiv revolveraša naravno akcentovan je govorom u kome se evociraju Kosovo, Prvi i Drugi srpski ustanak i stvara se atmosfera za novi obračun.

Lik lakomislenog, oprotunog i kada se napije pohotnog sveštenika koji se na kraju ispostavi kao pozitivac ali ne zbog mantije već zato što je čovek iz naroda, posebno je zanimljiva ilustracija Đukićeve ideološke ekvilibristike a podseća na lik Fratra Tucka iz ROBIN HOODa.

Ogroman broj ideja unetih u jedan film, uzeo je danak na planu celovitosti dela i jasnoće priče. tako recimo romantični subplot koji izvorno motiviše Sibina biva potpuno zapušten i zaboravljen u toku filma.

Međutim, iznenanđujuće je koliko je ZLATNA PRAĆKA zapravo intrigantan film sakriven ispod krinke one joke premise - "Čkalja na Divljem Zapadu". Reklo bi se čak da savremene evropske komedije o Divljem Zapadu poput LUCKY LUKE mogu štošta da nauče od ovog filma.

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Nema potrebe da zalis me, mene je vec sram
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crippled_avenger

#3043
29-01-2010, 21:43:18
Edge of Darkness
Drama. Starring Mel Gibson, Bojana Novakovic and Danny Huston. Directed by Martin Campbell. (R. 117 minutes. At Bay Area theaters.)


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In the six years since his last big-screen role, Mel Gibson has taken on the look of an aging parent. He plays a Boston police detective with a grown-up daughter, and seeing him with her - that is, seeing Gibson playing opposite the young actress who plays his daughter - is like seeing an older guy who accepts that his life energy is ebbing and who takes comfort that his vitality lives undiminished in his child.

Gibson has only one scene with the daughter (Bojana Novakovic) in "Edge of Darkness," and he plays it with the gentle self-consciousness of someone not old but getting old, who senses that the power balance between parent and offspring has imperceptibly shifted in favor of the younger generation. This is touching to see, and so when the daughter is killed - this happens within five minutes of the opening credits - it lands with an awful impact. Director Martin Campbell films Gibson staring into space in the aftermath looking small and weakened, as if he's not only lost his reason for living but also half his physical strength.

Welcome to the Gibson Zone. For better and sometimes worse, this actor is about anguish - to be specific, spiritual anguish as expressed through physical suffering. Gibson brings this tangible, deep-lived-in pain to "Edge of Darkness," a pain that goes way beyond the usual this-time-it's-personal nonsense that we find in most crime movies.

As Gibson plays it, the death of the daughter is not a misfortune, not merely a sad thing that happened, but a cataclysm. It's a rearranging of the planets and a revelation of dimensions of human suffering that no one knew existed.

Take that quality - Gibson's ability to feel it and make you feel it - and combine it with the storytelling skill of Campbell, who directed the best James Bond film of a generation, "Casino Royale," and you have the recipe for a crime drama that's exciting in the moment and that lingers in the mind.

The film is based on a six-part BBC drama, which Campbell directed in 1985. In adapting six episodes into less than two hours, screenwriters William Monahan and Andrew Bovell have crafted a tightly plotted story, loaded (but not overwhelmed) with incident. The grieving detective (Gibson) starts tugging on a loose thread and finds himself starting to unravel fathomless conspiracies involving politicians, paid assassins and corporate villains.

It's an arresting clash of forces: The bad guys have everything, but they have everything to lose; and the lone hero has no power, except the power that comes with having no limits. He's lost everything already.

Gibson, who was a convincing Southerner in "We Were Soldiers," becomes an honest East Coast working man in "Edge of Darkness," assuming the sounds of a blue-collar Boston accent and all the things that go with it, too - the facial expressions, the social diffidence, the way of looking at life.

The detective doesn't start out a superhero, and he doesn't morph into one as the movie progresses. Gibson plays him at all times as a regular guy, out of his depth, trying to get from one minute to the next as he encounters people so depraved, he can hardly believe it.

Against Gibson's aura of uncomplicated decency his co-stars' villainy gets to stand out in sharp relief. As a nuclear executive, Danny Huston seems mentally convoluted and baroque, and Dennis O'Hare's government bureaucrat is like some fretting fiend, unwilling to slow down for one second to consider obscure matters such as truth or common decency. Damian Young plays a Massachusetts senator as the worst kind of stuffed shirt: corrupt, complacent and oozing politeness.

These villains are specific, of course, but they're also archetypes for the things people fear - unseen powers running our lives, running our world, threatening to take what's most precious from us. I don't see "Edge of Darkness" as a great movie, or a particularly exalted one, but I do see it as one made by people who know where the buttons are - and who know how to press them. Hard.

-- Advisory: This film contains strong language and graphic violence.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3044
29-01-2010, 21:56:12
Priprema se jugoslovenski odgovor na SYNTH BRITANNIA

http://dobanevinosti.blogspot.com/2010/01/tesla-tunes.html
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

crippled_avenger

#3045
30-01-2010, 13:38:30
Mel Gibson sticks close to edge
Star keeps a hand in Hollywood while remaining a maverick
By PETER BART

It's been a surprise to find Mel Gibson out there, trolling the talkshow circuit on behalf of his new film, "Edge of Darkness." Whenever Gibson and the media intersect one always anticipates a collision of some sort, but he's getting by this time with only a couple of dented fenders.

Behind all this is the reality that, after a three-year interval, Mel's back -- in fact, he's gearing up for his busiest period ever. When I encountered him the other day, he made it clear, "I like the action. I realize that everything in this industry is changing, but with change comes opportunity."

Gibson, of course, has helped promulgate these changes, creating and funding his own films -- a pursuit that has been at once mindbendingly profitable and also provocative. A lot of people do not like either Gibson or his movies. Working with him in the past, I've always found him to be the total professional, but his mind seems both a brilliant resource and a minefield.

The studios can't figure Gibson out either, but they don't need to. He is marshalling an array of projects that is much too eclectic for studio tastes. The public may think of Gibson in terms of action pictures, but he has just wrapped a gentle, low-budget film directed by Jodie Foster in which he plays a depressed man who tends to wear a beaver hand puppet. He made the film because, as he puts it, "Jodie is a wonderfully erudite and decisive filmmaker."

Gibson also has been busy writing scripts (he co-wrote "Apocalypto" with Farhad Safinia), but this time the upshot is a film with the eccentric title "How I Spent My Summer Vacation." Gibson's character, in fact, spent it in a Mexican jail. Adrian Grunberg, who was Gibson's assistant director on "Apocalypto," will be entrusted to direct.

Gibson revisits more familiar terrain next with a Viking action drama to star Leonardo DiCaprio. William Monahan, who wrote "The Departed," has created a script which, Gibson says, is intended to "scare the shit out of you." This journey back to the 9th century will depict a people who "gloried in battle." They were like "monsters from the sea," Gibson says, but he wants to frame his film as a culture-clash drama about a doomed people.

I asked Gibson if he would entertain the idea of shooting in 3D, and his response was that he wanted to see "Avatar" before that deliberation. "I went to the theater twice and couldn't get in," he says. "I even bought tickets in advance and the place was still too crowded. I suppose that defines why the movie is a game changer."

A champion of digital, Gibson says he welcomes the revolution in technology that's overtaking the business. Most of all, he says, he wants to stay busy and to keep reinventing the rules. And he wants to work with other filmmakers of a like mind -- he's looking to star in Universal's "Cold Warrior" for the splendidly eccentric Shane Black, who directed "Kiss Kiss Bang Bang" and wrote the "Lethal Weapon" series that Gibson starred in.

"My hiatus is over," Gibson avers, and he clearly means it. He doesn't need anyone's money or permission to make a movie, and he knows that he's not adept at functioning within the machine of corporate Hollywood.

"I identify with those filmmakers who need to do their own thing," Gibson says with a combination of resignation and whimsy. "I like that fraternity. That's a fraternity I want to belong in."

He has a point.

Hopper always a surreal surprise

Whenever I spent time with Dennis Hopper over the years I always came away with the same feeling: The man seems even more surreal than the paintings he's collected.

On one occasion Hopper came after me with a loaded gun. On another he spoke thoughtfully about his early days working beside James Dean and John Wayne.

Hopper, who is gravely ill with cancer, has excelled as an actor, filmmaker, art collector and photographer and has done everything he can to self-destruct in each of those arenas. As he hovers near death, I have a tough time believing he really existed.

Even amid his present illness, Hopper has figured in a bizarre divorce battle. Documents assert drug use, gun threats and bitter battles over his extraordinary art collection. Clearly Hopper is not the sort to go away peacefully.

Looking back on his life, it seems impossible someone could have starred in a film like "Giant" only to blow his career as a star, or to have directed a seminal movie like "Easy Rider" only to disappear as a filmmaker.

Born in Dodge City, Kansas, Hopper once told me that when he informed his parents of his interest in art and in acting, they regarded him as a freak. On one level, they were right, of course.

If he passes, the town will never be the same.
Nema potrebe da zalis me, mene je vec sram
Nema potrebe da hvalis me, dobro ja to znam

DušMan

#3046
30-01-2010, 14:21:51
YouTube - Broadcast Yourself.
'The 40 Year Old Virgin Who Knocked Up Sarah Marshall and Felt Superbad About It'

Jesi vid'o ovo? Deluje superlejm.
Nekoć si bio punk, sad si Štefan Frank.

shrike

#3047
30-01-2010, 21:05:04
Ti si jedini pominjao Harryja Palmera, bar tako kaže pretraga.
Kakav je Len Deighton's The Ipcress File (1965)? Naleteo sam na film no ne skida mi se 10GB uzalud.
"This is the worst kind of discrimination. The kind against me!"

crippled_avenger

#3048
30-01-2010, 21:38:35
Nije vredan za 10 GB. Skini eventualno 700ak MB.
Nema potrebe da zalis me, mene je vec sram
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crippled_avenger

#3049
31-01-2010, 03:33:20
Pogledao sam MACBETH Geoffrey Wrighta. Kada sam čuo za izlazak ovog filma, pre par godina, bio mi je "most anticipated" naslov jer Wright je bio interesantan reditelj kad je počinjao i on je na neki način bio australijski adut u Holivudu početkom devedesetih. Na kraju, snimio je samo CHERRY FALLS, slovio je kao kandidat za režiju SILVER SURFERa i vratio se kući. U isto vreme, australijski adut bio je i Baz Luhrmann koji je meni uvek bio manje zanimljiv od Wrighta i nisam nikada razumeo taj hype oko njega.

U svakom slučaju, Luhrmann je 1996. započeo eru osavremenjenih ekranizacija Shakespearea sa svojim blokbasterom ROMEO + JULIET u kome je spojio Bardove rečenice sa napumpanim savremenim settingom. Malo je tužno videti kako Wright deset godina kasnije pokušava da uradi to isto sa MACBETHom.

Zabavna koincidencija svakako je to da Romea kod Luhrmanna igra Di Caprio a Macbetha kod Wrighta Worthington i da su ove Oz ekranizacije dramskih klasika zapravo prethodile ulogama koje su ovi glumci ostvarili Cameronovim recordbreakerima.

Pošto je posle ROMEO + JULIET usledila serija filmova poput Almereydinog HAMLETa pa smo čak i u Srbiji imali GUČU i ciganskog HAMLETa, MACBETH dolazi kao već izlišan naslov u seriji modernizacija.

Nije reč o tome da ne treba snimati osavremenjene edgy ekranizacije Shakespearea, naprotiv. Mislim da bi takvi projekti bili odličan recept za mlade autore poput Mladena Đorđevića da preko ovih komada uhvate neku kopču sa međunarodnim tokovima. Ali, svakako je besmisleno to raditi kopirajući Luhrmanna. Pre svega, Luhrmann je snimio holivudski mejdžor film, uhvatio zeitgeist, iskoristio trenutak u kome je to moglo da zaigra, a Wright želi da to isto uradi u post-ozploitation miljeu, da snimi MACBETHa na tragu DOBERMANNa u kinematografiji koja je na tu temu pružila CHOPPER.

Otud je najslabili deo filma upravo aproprijacija Shakespeareovog teksta. Dijalozi koje gflumci izgovaraju u stihu ne prolaze kao u ROMEO + JULIET. Taj trenutak je nepovratno prošao.

Međutim, Wrightov odnos prema dramskom tekstu je vrlo interesantan iz jedne potpuno druge vizure. Naime, on se poprilično potrudio da rekontekstualizuje Shakespearea u savremene okolnosti i u tom praćenju elemenata drame koje "prevodi" u okolnosti svog "čitanja" ponaša se gotovo štreberski. U tom smislu, Wrightov film izgleda kao ekranizacija neke studiozne, osrednje kreativne pozorišne predstave a ne samog teksta. Wrightovo opterećenje analizom teksta svojstvenije je teatru nego filmu.

U tom smislu, Wright ne nudi preterano relevantno čitanje Shakespearea. paradoksalno, njegov MACBETH ne bi bio naročita predstava jer bi smeštanjem u svet podzemlja postao suviše partikularan i izgubila bi se kontemplativnost komada.

Kao što se odavno pred pzorištem postavilo pitanje šta je zapravo teatar danas, naročito kada je dramski teatar jedna prevaziđena, u najboljem slučaju, muzejska forma, mislim da će se to pitanje skorije nego što mislimo postaviti i pred film, a o tome svedoči i čitava tendencija savremenog festivalskog filma koji je sve dalji i dalji od postulata na koje smo navikli. Naravno, kao što i danas dramski teatar na globalnom nivou čini veći deo produkcije, iako je najveći deo toga potpuno irelevantan pred sudom kritike, tako ne treba očekivati ni izumiranje filma kakvim ga volimo, ali je isto tako moguće da on ubrzo u formi koju mi vrednujemo bude potpuno odbačen u intelektualnim krugovima.

Ipak, Wright je poprilično neopterećen time. Njegov film iako ne funkcioniše u konvencionalnom smislu, svakako ne spada u naslove koji su taj "korak napred".

Štaviše, reklo bi se da izvan analize teksta, prevođenja elemenata u nove okolnosti, Wright žarko želi da napravi energičan gangsterski film.

U tom smislu, najveću pomoć dobija od Worthingtona koji u ovoj podeli deluje najsposobnije da igra gangstera i izgovara Shakespearea u isto vreme. ostali uglavnom to ne uspevaju i replike su mahom showstopperi.

Završnica koja po svom toku i ishodu podseća na SCARFACE Briana De palme, tek delimično evocira uspomenu na taj film. Jasno je da se MACBETH i SCARFACE ne mogu porediti i da je De Palma snimio klasik a Wright oportuni pokušaj comebacka, međutim u toj paraleli najviše iznenađuje koliko SCARFACE upravo zbog čistote svog filmskog izraza uspeva da bude znakovitiji i sadržajniji od ovog filma koji iza sebe ima svu silu Shakespeareovog nespornog remek-dela.

Uprkos tome što je neuspeh i što suštinski nije izbalansiran kao gledalačko iskustvo, MACBETH treba da se pogleda kao jedan ćorsokak u filmskim interpretacijama velikog pisca. Na tehničkom planu, Australija nije ono što je bila u vreme George Millera i Richarda Franklina ali Wrtight je snimio jedan pristojno insceniran i zanatski kompetentan gangsterski film što se hardvera tiče. Međutim, ukupni zanatski utisak je subholivudski i sem za Worthingtona teško da je MACBETH ikome mogao da posluži kao prporuka za Holivud.

* * / * * * *
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