The Crippled Corner

[crippled_avenger]

Nešto za lilit




a bogami i za Harvija

[crippled_avenger]

Pošto se protekle nedelje izgubilo dosta vremena na diskusije o tome ko će juriti "oskara" u naše ime, evo jednog nešto studioznijeg razmišljanja na tu temu

http://www.agitpop.me/?04A0AA2C

[Albedo 0]

Oko ove banke gena, mene zanima je li tačna ona priča da uvoz stranog sjemena u stvari znači zavisnost od dobre volje neke strane kompanije/zemlje da nam pošalje sjeme, jer bi u slučaju nekakvog razbuktavanja svjetske krize imali debelih problema sa zemljoradnjom, jer ne bi imali čime da zasijemo zemlju?

Mislim, ta priča je zvučala kao da je na ivici ludila, a onda se pojavljuje ova banka gena.

Dakle, da li to mediji lupetaju o nekakvoj ''poljoprivrednoj okupaciji'' ili je istina.

[Джон Рейнольдс]

Neka me ispravi neko stručniji, ne razumem se. Ali pročitah da se pomoću genetski modifikovanog semena ne može proizvesti svoje seme, to jest ono je jalovo. Time je poljoprivrednik nateran da kupuje seme, a čak i da hoće, ne može sam da ga proizvede. To upravo dovodi do toga da će firme proizvođači semena imati svojevrsni monopol nad hranom. Naravno, ovo mi zvuči uverljivo, sasvim u duhu globalističkog liberalnog kapitalizma, ali ovo što pišem jeste rekla-kazala.

[Albedo 0]

Da, ja sam to pročitao u Pečatu, dakle i nije neki pouzdani izvor, ali sad ova banka gena me podsjetila na to. Ako plodovi genetski modifikovanogsjemena ne mogu da obezbjede novo sjeme, već ono proizvodi strana kompanija i mi to uvozimo, onda je to poljoprivredna okupacija. Valjda će lilit da nam to potvrdi ili da nas ismije.

[Джон Рейнольдс]

I ja sam pročitao u "Pečatu". Tamo zaista svakakve gluposti mogu da se pročitaju, to da, ali ima i kritika i poenti koje ne možeš naći nigde drugde. Kao što rekoh, meni cela ta priča sa jalovim semenom zvuči sasvim uverljivo, vlažni kapitalistički san, da budeš ekskluzivni snabdevač nečeg vitalnog, a da konkurencija iako postoji, prosto ne može da pokrije tržište svojim proizvodom.

[Meho Krljic]

Internet pomaže:

http://www.csa.com/discoveryguides/gmfood/overview.php

Economic concerns

Bringing a GM food to market is a lengthy and costly process, and of course agri-biotech companies wish to ensure a profitable return on their investment. Many new plant genetic engineering technologies and GM plants have been patented, and patent infringement is a big concern of agribusiness. Yet consumer advocates are worried that patenting these new plant varieties will raise the price of seeds so high that small farmers and third world countries will not be able to afford seeds for GM crops, thus widening the gap between the wealthy and the poor. It is hoped that in a humanitarian gesture, more companies and non-profits will follow the lead of the Rockefeller Foundation and offer their products at reduced cost to impoverished nations.

Patent enforcement may also be difficult, as the contention of the farmers that they involuntarily grew Monsanto-engineered strains when their crops were cross-pollinated shows. One way to combat possible patent infringement is to introduce a "suicide gene" into GM plants. These plants would be viable for only one growing season and would produce sterile seeds that do not germinate. Farmers would need to buy a fresh supply of seeds each year. However, this would be financially disastrous for farmers in third world countries who cannot afford to buy seed each year and traditionally set aside a portion of their harvest to plant in the next growing season. In an open letter to the public, Monsanto has pledged to abandon all research using this suicide gene technologz

[Albedo 0]

To znači da je ova banka gena suva genijalnost Milorada Dodika, dakle čovjek nije baš običan vo.

[crippled_avenger]

Huge on period atmosphere and as murkily plotted as its source material, this big-scale European adaptation of John le Carré's 1974 Cold War novel Tinker Tailor Soldier Spy shows a faithfulness that should fully meet the expectations of the writer's fans. At the same time, with Swedish director Tomas Alfredson at the helm of his first English language film, one might be pardoned for hoping for a bit of the spookiness of his Let the Right One In or the political passion of le Carré's The Constant Gardener. Instead this good, old-fashioned square-off between spymasters Karla and George Smiley demonstrates a lot more loyalty than most of its characters. It is one of the few films so visually absorbing, felicitous shot after shot, that its emotional coldness is noticed only at the end, when all the plot twists are unraveled in a solid piece of thinking-man's entertainment for upmarket thriller audiences.

Related Topics
•Venice International Film...PHOTOS: 10 Movies to Know at the Venice Film Festival

Loyalty and betrayal are really but perfunctory undercurrents in the dense screenplay by Peter Straughan and the late Bridget O'Connor, which ensnares the viewer in an electrifying world of bureaucratic spy-dom from the opening scene at London MI6 headquarters, or "the Circus". A bit like M briefing James Bond in a cluttered newspaper editor's office, the action gets started when British Intelligence's numero uno, Control (John Hurt), sends dashing agent Jim Prideaux (Mark Strong) on a dangerous mission to Hungary. He is to meet with a turncoat Russian general who knows the name of a double agent high within their own ranks.

The mission to Budapest is a fiasco and puts an inglorious end to Control's reign in the Circus, along with the career of his right hand man George Smiley (Gary Oldman). In his gray suit, gray hair and stumbling gait, Smiley looks ready for retirement. But after Control's death, a sense of duty calls him back to catch the mole that cast a pall on his friend and mentor.

The suspects are cut-out faces taped to chessmen in Control's shadowy, secret-filled apartment. They are all the Circus's top brass: the ambitiously dislikable "tinker" Percy Alleline (Toby Jones), suave "tailor" Bill Haydon (Colin Firth, sardonically tossing off all the best dialogue), the solid "soldier" Roy Bland (Ciaran Hinds), "poor man" Toby Esterhase (David Dencik) and George Smiley himself. Superb characterizations help distinguish the crowded Circus performers, though viewers are kept on their toes with an ever-expanding cast of operatives like the trusted young Peter Guillam (Benedict Cumberbatch) and the romantic "scalp hunter"/hit man Ricki Tarr (Tom Hardy).

Smiley's visit to another cast-off colleague, Connie Sachs (a delightfully blowsy, vivid Kathy Burke) puts him on the trail of the Russian spy Polyakov, who turns out to be a key part of the puzzle. Nothing in the plotting is banal or easy to second-guess; on the other hand, nothing is very clear, either, and there's a moment near the end when overlaid voices start buzzing through Smiley's head, suggesting he's almost as confused as the viewer. But all it takes is the patience to hang on till the final scenes, and the chessmen will be made to show their true colors in a quiet pay-off.

Picking up a role on which the great Alec Guinness left his signature in the 1970s when the novel was adapted as a British TV series, Gary Oldman is a cold-blooded, inscrutable Smiley whose unhappy marriage is the only personal thing about him. The scene in which he relives his one meeting with Karla is about as excited as he gets, and yet his rock-solid steadiness in a world of betrayal and his penetrating mind make him a very British kind of hero.

With the Cold War long gone and other problems to worry about on the world political scene, Tinker Tailor risks feeling out of date and superfluous. Alfredson's solution has been to celebrate the period and its rigidity in a stylish feast of modernism designed by Maria Djurkovic and lit by Hoyte van Hoytema. The look carries over from creative indoor sets like the beehive-walled MI6 conference room to locations in London, Budapest and Istanbul. Shots framed through window panes and sets lit through a constant hazy mist emphasize the spy theme; some shots, like Ricki Tarr's spying on a bedroom scene in the building across the street, have a Rear Window feel. Alberto Iglesias, who also composed The Constant Gardener score, manages orchestral accompaniment with a sly subtle touch.

Venue: Venice Film Festival (Competition)
Production companies: Working Title Films, Paradis, Kinowelt
Cast: Gary Oldman, John Hurt, Colin Firth, David Dencik, Ciaran Hinds, Mark Strong, Toby Jones, Benedict Cumberbatch, Tom Hardy, Svetlana Khodchenkova, Kathy Burke, William Haddock, Simon McBurney, Stuart Graham
Director: Tomas Alfredson
Screenwriters: Bridget O'Connor, Peter Straughan, based on the novel by John Le Carré Executive producers: John Le Carré, Peter Morgan, Douglas Urbanski, Debra Hayward, Liza Chasin, Olivier Courson, Ron Halpern
Co-executive producers: Eric Heumann, Wolfgang Braun
Producers: Tim Bevan, Eric Fellner, Robyn Slovo
Co-producer: Alexandra Ferguson
Director of photography: Hoyte van Hoytema
Production designer: Maria Djurkovic
Music: Alberto Iglesias
Costumes: Jacqueline Durran
Editor: Dino Jonsatter
127 minutes

[crippled_avenger]

Malo sam o zaostatku. Filmovi se gledaju ali koliko vidim neće sami sebe da živopišu...

Pogledao sam ATTACK THE BLOCK Joe Cornisha. Ova produkcija Edgar Wrighta je za klasu slabija od njegovog SHAUN OF THE DEAD ali je i za klasu bolja od skorašnjih britanskih žanropvskih produkcija pravljenih za lokalno tržište i često smeštenih u ambijent londonskog social housinga, među omladinske bande i sl.

Međutim, ovaj film nosi u sebi ponešto od oba sveta, nije klasa kao Wrightove produkcije snimane za Working Title, ali nije ni šund kakav inače distribuira Optimum Releasing, inače i pokrovitelj ovog filma.

ATTACK THE BLOCK se bavi zamešateljstvom koje nastaje kada se grupa tinejdžera delinkvenata iz geta sukobi sa grupom dosta opasnih i agresivnih vanzeamaljaca čiji si su motivi nejasni do samog finala filma.

Cornish u mnogim detaljima pokušava da pšrati Edgar Wrighta i to pre svega kroz suptilno omažiranje raznih klasika, dimanično montirane scene i suštinski odnos prema priči baziranoj na kombinovanju filmski već uspostavljenih konvencija. Kao što je Wright u SHAUNu kombinovao Britcom sa zombijima, tako ovde Cornish kombinuje geto film sa vanzemaljcima. Međutim, njegov osnov nije komičan, a rezulčtat pretenduje da bude tako da samim tim ATTACK THE BLOCK u svom tonu nije konzistentan. Drugi problem je dupliranje istih likova unutar bande. Iako se Cornishu ne može osporiti da je uspeo da postavi likove koji se međusobno ipak razlikuju činjenica je da ih možda ima previše i da u scenama kada su svi živi sa nekim od njihne zna šta da radi.

Ove primedbe same po sebi, samo pokazuju određene fundamentalne slabosti koje odvajaju ATTACK THE BLOCK od istinski dobrog filma kakav je recimo bio SHAUN. Međutim, u kontekstu žanrovske ponude, a naročito ako imamo u vidu da je ovo debitantski, mladalački, niskobudžetni film, ATTACK THE BLOCK je izvanredan primerak vredan pažnje.

* * * / * * * *

[crippled_avenger]

Pogledao sam HBO film CINEMA VERITE koji su snimili Shari Springer Berman i Robert Pulcini. Reč je o izvanrednoj priči o prvoj američkoj reality emisiji i prvoj porodici koja je podvrgnuta ovakvom programu.

U vreme kada je televizija još uvek imala nivo, prva reality emisija proistekla je iz radikalne ideje dokumentariste Gilberta Craiga da snimi životne navike i rituale jedne uzorne američke porodice i da to bude dokumentarni film i obrazovna serija za kanal PBS. Ekipu su činili mladi filmmejkeri koji će kasnije osvojiti oskare koje je zanimalo da snimaju "cinema verite". Dakle, prvi reality program je nastao iz motiva koji su potpuno drugačiji od onih koji se danas susreću.

Međutim, tokom rada se ispostavilo da Gilbert neće prezati ni od pokušaja da svojim spletkama gurne porodicu preko ivice ne bi li proizveo dramu koja je potrebna da bi se obezbedilo finansiranje za samu emisiju, a ruku na srce porodica je imala svoj can of worms koji je čekao da bude otvoren i do toga je i došlo upravo u toku snimanja ovog dokumentarca.

Glumačku ekipu predvode Diane Lane, koja je odavno sazrela u pravog MILFa i verujem da ima Mehov sertifikat, Tim Robbins, James Gandolfini i Patrick Fugit koji nije uspeo da isprati meteorski uspeh ALMOST FAMOUS ali je postao sasvim upotrebljiv glumac. Oni uspevaju da celoj priči donesu vrlo efektan izraz i da odbrane svoje likove čak i kada su neki njihovi postupci prilično neodbranjivi.

Berman i Pulcini vrlo lepo rekonstruišu epohu i imaju nekoliko izvanrednih rešeja kada postavljaju odnos između dokumentarnog i igranog materijala, između snimaka pravih ličnosti i glumaca koji su ih pretvorili u dramske likove, a rekonstrukciji epohe doprinosi i vrlo vešta fotografija brazilskog DPa Alfonso Beatoa.

CINEMA VERITE je stoga zaista jedan od bitnijih televizijskih događaja 2011. godine i mislim da je to film koji će upravo baš zaživeti kao bitan topical deo repertoara svake ozbilnije televizije.

[Meho Krljic]

Diane Lane, koja je odavno sazrela u pravog MILFa i verujem da ima Mehov sertifikat

Ima.

A i film deluje zanimljivo.

[crippled_avenger]

A evo i nečega za prave momke, možda se Michael Mann potrudio da imamo koga da nasledi Kathryn

http://dobanevinosti.blogspot.com/2011/09/texas-killing-fields-4-klipa.html

[crippled_avenger]

Pogledao sam PAGE EIGHT David Harea, koji je ovih dana koliko vidim dobio nagradu Pen Centra. Hare je snimio iznenađujuće ozbiljan televizijski film u rediteljskom smislu i sve do samog finiša, PAGE EIGHT stoji kao odlično zagrevanje za TINKER TAILOR SOLDIER SPY. Čak je u izvesnom smislu Nighyjev junak parafraza Smileya kao što je uostalom Gambonov parafraza le Carreovog Controla. Nažalost, na kraju, film biva zaključen krajem koji u priličnoj meri pokaže da je pored le Carrrea očigledan uticaj na Hareov film imao i Curtisov GIRL IN THE CAFE u kome je Nighy dosta histeričnije igrao državnog službenika koji je usavršio preteran stiffupperlippery.

Po le Carreovom modelu, ovde su junaci obaveštajci anti-bondovskog tipa, vezani za kancelarije sa neraščišćenim i ciničnim međusobnim odnosima, suprugama koje su u nekom trenutku života podelili, idealima koji se više krune nego što se obnavljaju i sumnjama u sve što ih okružuje.

Otud i ne čudi da kada mu umre šef i ostavi iza sebe dosije koji bi vrlo lako mogao srušiti Vladu, Nighy počinje da sumnja kako je GIRL IN THE CAFE scenario zapravo nemoguć i kako je idealna žena koja živi u stanu preko puta njegovog zapravo savršeno oblikovani obaveštajac sa lažnim identitom a ne osoba koja bi mogla da probudi njegova osećanja.

Hare, kako rekoh sve do prilično sentimentalnog i neubedljivog finala, odlično vodi priču sa britkim dijalozima, vrlo vibrantnom vizuelnošću kojom se bavio direktor fotografije Martin Ruhe i All-Star glumačkom ekipom u kojoj su pored Bill Nighyja i Michael Gambona još i Rachael Weisz, Ralph Fiennes i Marthe Keller.

Uprkos tom neubedljivom kraju, PAGE EIGHT je vrhunska televizija i pravo zadovoljstvo za gledanje na kakvo nas je navikao BBC u svojim najboljim fazama.

[crippled_avenger]

Variety has learned that Anthony Hopkins has signed on to star in "Solace," in which he will play a former doctor with psychic abilities who works for the FBI and is drawn into a unique serial killer case that pits him against a formidable foe.

All this sounds familiar, since Hopkins played a doctor who helps the FBI catch a serial killer in "Silence of the Lambs." But this film was actually originally a sequel to David Fincher's "Se7en."

After the first "Se7en" film, New Line immediately wanted a sequel, but Fincher refused to come back. The studio continued without the helmer and in 2002 picked up a spec script called "Solace" from Ted Griffin (Ocean's Eleven). The script was rewritten with the doctor (now played by Hopkins) becoming Morgan Freeman's character.

For whatever reason, the sequel never happened and the studio decided to just keep Griffin's original "Solace" script and turn it into a film.

Read more: http://www.worstpreviews.com/headline.php?id=22799&count=0#ixzz1XLcjmMYO

[Tex Murphy]

Rejčel Vajs!!!

[crippled_avenger]

The actor-director will develop the project based on Judah Maccabee with "Basic Instinct" writer Joe Eszterhas.

Warner Bros. is joining forces with Mel Gibson to develop a movie about the Jewish hero Judah Maccabee, and Basic Instinct screenwriter Joe Eszterhas has come aboard to write the screenplay. Gibson will produce through his Icon Productions and  will decide whether he'll act in or direct the film once the script is completed.

Although Gibson was accused of anti-Semitism by a number of Jewish leaders when he released The Passion of the Christ in 2004, he's wanted to tackle a movie about Maccabee for more than a decade. Maccabbee, considered one of the great warriors in Jewish history, led a popular revolt against he Seleucid king Antiochus IV, seizing Jerusalem and reconsecrating the Temple, an event remembered by the Jewish holiday of Hanukkah.
our editor recommends
'Hangover II' Director Defends Decision to Fire Mel Gibson

PHOTOS: '80s Action Stars: Where Are They Now?

Eszterhas, who hit it big in the '80s with movies like Flashdance, Jagged Edge and Basic Instinct, before retreating from Hollywood in recent years, has been talking with Gibson for about a year and did a lot of his own research on the subject before embarking on a screenplay, according to once source familiar with the project.

There's no timetable in place at the moment, but once Ezterhas, repped by ICM, completes the script, Gibson will decide whether or not to act in the film and whether he'll direct it. Gibson's last film appearance was his star turn in Jodie Foster's The Beaver, which opened in May.

Whether the controversial actor's decision to take on a Jewish hero appeases his critics remains to be seen.

PHOTOS: Mel Gibson's 'Signs' and 13 Other Alien Movies

"The story that has always fired my imagination...is the Book of Maccabbees," Gibson told Sean Hannity in a WABC ratio interview in 2004 when he was promoting The Passion. "The Maccabbees family stood up, and they made war, they stuck by their guns, and they came out winning. It's like a Western," he explained.

Certainly, the tale of the Maccabees could lend itself to the kind of harsh realism that Gibson employed in The Passion and Apocalypto. The Maccabees were a fierce group of guerilla warriors who revolted against the Seleucid Empire and its ruler, who had forbidden Jewish religious practices. Some consider the Maccabees to have been zealots; their revolt started with the murder of a Jew who practiced Hellenism. After the Maccabees wrested control of Judea from the Syrean Greeks, they set out to purify the land. After rededicating the Temple -- the story of the festival of Hanukkah is born out of the legend that a small jug of oil sustained the Temple's Menorah for a miraculous eight days -- the Maccabees ruled with an iron fist. They compelled observance of religious laws, circumcised newborns and killed apostates.

In 2004, though, Gibson's critics objected to his making such a movie. The Anti-Defamation League's Abraham Foxman told the Orlando Sentinel, that if Gibson made that movie, "We'll lose. He'll write his own history. I would prefer to leave the fate of Jewish history and Hollywood to Steven Spielberg. The Maccabees...are our sacred history.

[crippled_avenger]

De Vito je sjajan reditelj, ovome se baš radujem...

Morgan Freeman and Pierce Brosnan are attached to star in a film adaptation of children's author Avi's bestselling book "The True Confessions Of Charlotte Doyle" reports Screen Daily.

The story follows an adventurous young girl who braves the high seas aboard a ship with a ruthless captain and a mutinous crew, set in 1830. Saoirse Ronan was previously attached to the role of Doyle.

Danny DeVito directs from a script he adapted and shooting is scheduled to begin in Ireland in 2012. DeVito, Lori McCreary, Michael Weisler and Beau St.Clair will produce.

[Albedo 0]

I would prefer to leave the fate of Jewish history and Hollywood to Steven Spielberg. The Maccabees...are our sacred history.

haha, priceless

Nadam se samo da to ne znači da je projekat sa Vikinzima propao.

[crippled_avenger]

"Casting him as a director or perhaps as the star of 'Judah Maccabee' is like casting Madoff to be the head of the Securities and Exchange Commission," says Rabbi Marvin Heir.

Prominent Jewish leaders are beginning to speak out against Mel Gibson and Warner Bros. over their planned movie based on the life of religious icon Judah Maccabee.
our editor recommends
Warner Bros. Backing Mel Gibson Movie About Jewish Icon

Abraham Foxman, national director of the Anti Defamation League, who criticized Gibson's controversial 2004 film The Passion of the Christ, issued a statement to The Hollywood Reporter in response to the news.

"Judah Maccabee deserves better. He is a hero of the Jewish people and a universal hero in the struggle for religious liberty. It would be a travesty to have his story told by one who has no respect and sensitivity for other people's religious views," Foxman tells THR of the project, which is being co-developed by Basic Instinct writer Joe Eszterhas.

PHOTOS: '80s Action Stars: Where Are They Now?

In the lead-up to Passion's release, Foxman could be found on numerous talk and news programs slamming the drama. In a speech to the ADL's national executive committee just before the film's release, Foxman questioned whether Passion could trigger anti-Semitism.

Rabbi Marvin Heir, founder and dean of Los Angeles's Simon Wiesenthal Center Museum of Tolerance, also is speaking out against the new film. He tells THR that the project is merely the latest slap in the face to Jewish people by Gibson, who has been accused of making anti-Semitic comments.

Heir tells THR in a statement:

   "Mel Gibson has shown nothing but antagonism and disrespect to Jews. First of all there were the anti-Semitic remarks he made, his portrayal of Jews in The Passion of Christ. I'm talking about those Jews who did not accept Christ, they were all portrayed as idiots, buffoons or people who were tyrants, with a very unfair portrayal. He's had a long history of antagonism with Jews. Casting him as a director or perhaps as the star of Judah Maccabee is like casting Madoff to be the head of the Securities and Exchange Commission, or a white supremacist as trying to portray Martin Luther King Jr. It's simply an insult to Jews."

Heir also is criticizing Warner Bros., a unit of publicly-traded Time Warner, for agreeing to distribute the movie.

"Warner Bros. is making a terrible mistake," Heir says, adding, "most of the people that are going to come to a film about Judah Maccabee are the Jewish community. Surely they know the Jewish communities are not going to come to this film."

Heir says he has no objection to Gibson making a living as an actor or director, but he has not apologized sufficiently for comments deemed anti-Semitic:

   "Has he shown any sensitivity to Jews after those incidents? Has he gone out of his way to write an editorial to explain himself, to do some outreach and to understand better the implications of the Holocaust or maybe on one of his visits to Europe to stop at a concentration camp and show some sensitivity? Nobody would say a person doesn't deserve another chance. There's no question about that. But he has not shown any of that evidence at all. I am sort of appalled by such a portrayal, because it's a complete misfit for the role of Judah Maccabee, one of the greatest Jewish heroes in all of history to be portrayed by someone who has shown nothing but antagonism and anti Semitism toward Jews."

Gibson has not said whether he will play Maccabee, or even whether he will act in the movie.

Still, regardless of his opposition to the project, Foxman says, "America is a  free country and anyone can do whatever they want, so long as they don't hurt others."

[crippled_avenger]

Priceless misao Buda Đurovića sa Twittera - "crnogorci su vazda ginuli za kosovo pa kako da ga sad oni ne priznaju???"

[crippled_avenger]

Joe Ruben se vraća!

Michael Keaton and Michelle Monaghan ("Source Code," "M:I-3") are set to star in the psychological thriller "Penthouse North" at Lionsgate International says The Hollywood Reporter.

Monaghan plays a photojournalist haunted by a tragic event who has become an agoraphobic trapped in her upscale New York penthouse. Soon the world makes its way in as a smooth but sadistic criminal (Keaton) breaks in looking for a hidden fortune, with the woman mustering her inner strength to survive.

Joseph Ruben ("The Forgotten," "Sleeping with the Enemy") will direct. Shooting kicks off in Ottawa in November. Ruben, Jeff Sackman, Michael Baker and Jon Shiffman are producing while David Loughery ("Lakeview Terrace") penned the script.

[crippled_avenger]

E, ovo je odlično, mislim da Mehmet treba da podeli sa nama svoje misli o ovom problemu...

http://www.ign.com/videos/2011/09/06/the-fd-up-timeline-of-x-men-first-class

[Meho Krljic]

Ne mogu sada da gledam video, na poslu sam, ali već sam u svom osvrtu na film (koji je zapravo ćaskanje sa DJ Kemom) ukazivao na to da se ovaj film ne samo ne drži kontinuiteta iz stripova, nego čak ni kontinuiteta uspostavljenog prethodnim filmovima iz franšize. Evo ovde:

Frst Kles

[crippled_avenger]

Howard Davies je napravio dosta tromu adaptaciju prilično uspešne i intrigantne drame Michaela Frayna COPENHAGEN o prijateljstvu i susretu Nielsa Bohra i Wernera Heisenberga za vreme Drugog svetskog rata u okupiranoj Danskoj. Komad otvara ne samo pitanje njihovog odnosa kao prijatelja i naučnika već najpre otvara etičko pitanje vezano za upotrebu njihovih znanja u cilju pravljenja atomske bombe. Naime, Bohr je posle bekstva iz Danske u Švedsku završio u Los Alamosu i u određenom smislu je pomogao nastanak američke bombe dočim je Heisenberg vodio a po svojim rečima opstruirao nastanak nemačke.

Frayn pokušava da otvori pitanje etičkih implikacija, granica do kojih je sezao Heisenbergov patriotizam (koji nije podrazumevao simpatije prema Hitleru) i konačno otvara ključno pitanje da li Heisenbergova bomba nije uspela zato što je on zbilja opstruirao rad ili zato što nije umeo da je napravi.

Davies nažalost ne uspeva da prevaziđe pozorišni osnov Fraynovog teksta a paradoksalno što više pokušava da ga prevaziđe postaje sve teatralniji i ulazi u objašnjavanje komada koji je sam po sebi već prilično jasan.

Stephen Rea i Daniel Craig su odlični glumci tako da je njihova igra na nivou i u domenu očekivanog ali sveukupna BBC egzekucija ipak nije.

[crippled_avenger]

Pogledao sam LA PROIE Eric Valettea. Valette je otišao u Holivud posle filma MALEFIQUE u kome je pokazao određeni potencijal ali me nije do kraja ubedio da je materijal za tamošnju produkciju. Posle rimejka Miikeovog ONE MISSED CALL koji je bio druga liga za holivudske standarde vratio se u Francusku sa povremenim izletima u holivudsku DTV produkciju. U Francuskoj međutim Valette radi projekte koji spadaju u prvu komercijalnu ligu u LA PROIE je upravo takav. Inače, zanimljivo je da ima naslov kao i dosta bolji film o lovu na mutiranu divlju svinju.

Za razliku od filma o divljoj svinji, Valetteov film nije uopšte snalažljiv i inventivan. On se u prepoznatljivom francuskom stilu drži pokušaja da se simulira Holivud u čemu tek sporadično tehnički uspeva, i s druge strane - a to je svojevrsno osveženje - pokušava da zaliči na korejske chase and revenge trilere donoseći njihov profil bizarnih everyman negativaca i osvetnika koji u procesu odmazde otkrivaju u sebi superherojske sposobnosti. U tom smislu, PROIE me je recimo dosta podsetio na I SAW THE DEVIL ili MAN OF VENDETTA. Naravno, ovo poređenje treba uzeti krajnje uslovno, korejski radovi su samo daleki odjek kod Valettea.

U krajnjoj liniji, ono gde Valette pada nije pitanje holivudske tehnike ili poređenje sa korejskom surovošću već su to zapravo male ali elementarne stvari vezane za rediteljski postupak. Ovo je star-driven akcioni triler sa pouzdanim Albert Dupontelom u glavnoj ulozi. Međutim, ostatak podele je potpuno ridikulozan, trećerazredni i u potpunom disbalansu u odnosu na kvalitet i uverljivost koje donosi Dupontel. Zatim, ključ stilizacije, da se gejmerski izrazim "fizika filma" je takođe u disbalansu. Nije problem u tome što je ovo film u kome junaci sporadično imaju moći superheroja, problem je u tome što okolnosti nisu takve da se te moći često koriste niti su one u pojedinim situacijama uopšte potrebne. U Koreji mi imamo slične slučajeve u pojedinim filmovima, ali tamo je to ipak snažnije psihološki motivisano ili spada u čist rediteljski barok.

Valette pak snima film koji je suviše aljkav da bi bio mejnstrim a nema ni svedenost radova Fred Cavayea da bi prikrio svoje nedostatke.

* * / * * * *

[crippled_avenger]

Mehmete, izgleda da pasji sinovi koje je Zapad podržao protiv Pukovnika u Libiji svoju krotkost crpe iz vere a ne iz liberalizma?

http://www.catholic.org/international/international_story.php?id=42790

[crippled_avenger]

Hard to believe but it has been twenty years since Keanu Reeves' Johnny Utah character redefined the English language in Kathryn Bigelow's 1991 thriller "Point Break". A solid box-office hit and cult success in the intervening years, it has since spawned numerous parodies not to mention an entire franchise - ie. "The Fast And The Furious" - which essentially remade the film over and over.

Three years ago they attempted to make a sequel which it fell apart. Then back in July came word that "Salt" and "The Thomas Crown Affair" scribe Kurt Wimmer has been working on a new script for not a sequel but rather a remake/reboot.

Today in a press release, Alcon Entertainment and Warner Bros. Pictures have made it official that they're going forward with the reboot which follows the basic premise of an FBI agent infiltrating a criminal ring.

Forget surfing with a dash of skydiving though, apparently that stuff is just too wussy. This new version will be set in "the world of international extreme sports" but won't specify what those sports are. Snowboarding, skateboarding and BMX technically qualify - sadly the unerpublicised competition of 'crocodile tea bagging' sadly remains unrecognised by organised sporting authorities.

Alcon's Broderick Johnson and Andrew Kosove says the new script "infuses the story and characters with new twists and settings".

POINT BREAK-TRAILER (1991)

[Meho Krljic]

Mehmete, izgleda da pasji sinovi koje je Zapad podržao protiv Pukovnika u Libiji svoju krotkost crpe iz vere a ne iz liberalizma?

http://www.catholic.org/international/international_story.php?id=42790

Kad tako nešto javi The Catholic Online znaš da je u pitanju objektivan, nepristrasan izvor.

[Albedo 0]

pa u Iraku je isto vjerska skupina na vlasti

[crippled_avenger]

Pa dobro, Mehmete, nije problem u Catholic Onlineu, javili su to svi mediji, ovo mi je samo Google izbacio prvo pa sam linkovao...

A ti Bato, prioni na fusbal, ja uzeo 20 prvo vece a pola tima mi tek 14. debituje.

[Albedo 0]

a Tijago Silva (sad ima 13 poena)? Imao bih sa njim 28 bre!

Pazi se, imam sutra još 5 igrača!

[crippled_avenger]

Sad bi imao 28 da si pravi navijac Milanovca...

[Albedo 0]

sramota me je, priznajem! 

ali bre ovi bez Robinja, Inzagija i Ibrahimovića zabiše dva komada, a posrtali protiv Lacia, da čovjek ne povjeruje

Berluskoni - stručnjak za perverziju.

[crippled_avenger]

Lazio doveo Klosea. Da vidimo da li ce ponoviti Riedleovu sudbinu iz Lazia ili cak mozda odradi kao Voller u Romi? Mada, krstenica mu nije jaca strana...

[Shozo Hirono]

sramota me je, priznajem! 

ali bre ovi bez Robinja, Inzagija i Ibrahimovića zabiše dva komada, a posrtali protiv Lacia, da čovjek ne povjeruje

Berluskoni - stručnjak za perverziju.

The best of Silvio Berlusconi

[Albedo 0]

EPOHALNO!

[crippled_avenger]

Ja sad ne kapiram kako se ovo racuna... U nasoj ligi, Bato...

[Albedo 0]

brutalno sam zakucan na dnu, ludilo

inače, o ligi bolje piši na temi o Kladionici

bodovi će se prebrojavati do jutra, tek sutra će sve biti normalizovano

svima je pao broj bodova od juče, imaju neku ludu matematiku, ali konačno će se znati sutra.

[crippled_avenger]

Da, pa vidim. Ali, Gračanica srećom i kad se sve sabere i dalje kida...

[Albedo 0]

Ja ne mogu da prežalim Silvu

[crippled_avenger]

Pa ni ne treba da ga prežališ, i treba da proklinješ svoju sudbinu što nisi verovao u Milan. Ja sam imao Nestu u timu a Kolarova na klupi iako je Kolarov dao gol. I nije mi žao, i danas da mogu opet bih isto uradio...

[Albedo 0]

sad mi već nokte kidaš...

[Tex Murphy]

Tuga je moja pregolema kad sam shvatio da je Robinjo povrijeđen

[Albedo 0]

opet si ispred mene, šta se žališ

a Robinja možeš da zamijeniš, to jest nakon svakog kola možeš besplatno da zamijeniš jednog igrača, a za svakog sljedećeg plaćaš dva boda, to jest u sljedeće kolo ulaziš sa -2, -4 itd...

kad se Robinjo oporavi možeš i da ga vratiš

[crippled_avenger]

Pogledao sam ASSASSINATION GAMES novog Van Dammeovog kućnog reditelja Ernie Barbarasha. Barbarash je u ovom filmu u osnovi dosta dobro prišao problemu produkcionih ograničenja DTV filma - on smešta film u Rumuniju, čak ne preza ni od toga da se poigra prikazima sirotinje na ulici, ali potom sve to manje-više rezultira ne samo krajnje generic pričom već i filmom kome nedostaje akcija.

I onda kada ima akcije, Barbarash dosta slabo koristi Scott Adkinsa i umesto da ga stavi u tuču, daje mu da pretežno puca i traći njegovo prisustvo.

Marija Karan ima jedinu krupniju žensku ulogu ali ovo je film u kome žene nemaju značajnije mesto tako da je ona pre svega tu da dođe o nastrada tako što skonča isečena na komade.

ASSASSINATION GAMES je idejno korak u dobrom pravcu ali je slabiji od mnogih koji su išli u pogrešnom.

* 1/2 / * * * *

[crippled_avenger]

Marisa Tomei has signed on to co-star with Bette Midler and Billy Crystal in Andy Fickman's comedy "Us and Them" says Variety.

The story has Crystal and Midler stuck caring for their grandchildren and are baffled by their 21st century lives. Tomei plays the pair's estranged daughter, Alice, whom they slowly repair their relationship with.

Bailey Madison also stars as one of the grandchildren. Shooting kicks off later this month in Atlanta.

[crippled_avenger]

Poslednjih dana sam u zaostatku u živopisanju filmova.

Uz HORRIBLE BOSSES na repertoaru se pojavila još jedna izuzetno potentna komedija - BAD TEACHER Jake Kasdana. U maniru BAD SANTAe, mada bez tako izrazitog indie vajba (iako Jake Kasdan nesumnjivo ima indie kredibilitet) pisci serije THE OFFICE prave uspešan transfer na veliki ekran a Kasdan uspeva da izvuče maksimum iz Cameron Diaz, Jasona Segela, Justina Timberlakea i Lucy Punch koji nude izuzetno efektne uloge i spremni su da se lepo zabave, ne stide se grossouta ili transformacije svojih prepoznatljivih persona.

To naročito važi za Cameron Diaz koja je posle ridikuloznog KNIGHT AND DAY u kome prosto više nije mogla da prođe kao seks simbol sada počela da se poigrava sa tim, igrajući ostarelu fuksu nastavnicu, i u određenom smislu BAD TEACHER se može posmatrati kao njen ERIN BROKOVICH. Kao što je Julia tu imala junakinju čiji izgled su načele godine a izgled joj je bitan adut tako je i Cameron Diaz okrenula brigu na veselje i to u žanru u kome ona suvereno vlada.

Kasdanova režija je sigurna, i pored obilja gegova i smeha, on uspeva da ispriča i priču, ostavljajući možda samo jednu krupniju pripovedačku rupu vezanu za prirodu nastavnicine mahinacije sa testovima.

Humor je dosta dobar i sporadično edgy ali bez besmislenog nadmetanja u ekstremnosti ili jalovih improvizacija u koje recentne američke komedije često umeju da skliznu, naročito posle velikog uspeha Judd Apatowa. U tom smislu, posle sumraka favorita sa BRIDESMAIDS i tek solidnim dometom drugog HANGOVERa, naslovi poput HALL PASS, HORRIBLE BOSSES i BAD TEACHER vraćaju poverenje u old school komediju.

* * * / * * * *

[crippled_avenger]

I've interviewed a lot of directors. Nicolas Winding Refn is the first I've ever spoken to who actively solicited negative feedback about his movie. As we were wrapping up our conversation about his new film "Drive," he pressed me to tell him something I didn't like about it. You'll see what I said, along with his great response, at the end of our interview. I just appreciated talking to a director who takes criticism, even negative criticism, seriously.

Or maybe Refn knew he's got a really good movie on his hands and there wasn't much to complain about. He would be right, too. "Drive" is a superb film, a successful blend of action and romance, violence and beauty, high and low art. Ryan Gosling stars as Driver, a part-time mechanic and stuntman who moonlights as a wheelman. He takes a shine to his neighbor Irene (Carey Mulligan), but she has a secret she's not telling him, and he's getting in over his head with his boss Shannon (Bryan Cranston) and some of his unsavory underworld associates (Ron Perlman and Albert Brooks, wonderfully surprising as a pragmatic mobster).

The film draws on all sorts of older inspirations -- John Hughes movies, Japanese samurai films, 70s crime fiction -- and combines them in a refreshingly new way. As Refn famously described in front of a packed house at this year's San Diego Comic-Con, the whole project began with an awkward meeting between the director and his star. Refn was sick and high on flu medication. He doesn't have a driver's license -- more on that in a bit -- so Gosling drove him back to his hotel. When REO Speedwagon's "Can't Fight This Feeling" came on the car stereo, Refn burst into tears and song simultaneously. Somehow, Gosling understood: this was what their movie was about. A partnership was born.

So I started with the somehow: how did the Danish-born director of foreign indies like the "Pusher" trilogy, "Bronson," and "Valhalla Rising" know this was the right project to make as his first Hollywood movie? After that, we tackled all sorts of topics about "Drive," including Refn's chronological shooting method, his vision for Gosling's costume, even his unusual choice of opening credits fonts, before we wrapped things up by briefly discussing his upcoming project with Gosling, a remake of "Logan's Run."

Remaking beloved science-fiction classics? Good thing the guy's cool with negative criticism.


So I've read the story of your first meeting with Ryan Gosling when you were high on flu meds, crying, and singing REO Speedwagon. But what was it about this project that made it the one for you guys to collaborate on?

It wasn't this project. It was basically that during the course of that drive home, when I was singing REO Speedwagon and crying [laughs], I saw an emotion that I could make a movie out about.

What emotion was that?

I told Ryan, "We're going to do a movie about a man who drives around in a car at night listening to pop music because that's his emotional relief." He was like "Cool, let's do it." And that's how the film got started. After that, I looked at the material, and I wanted to change a whole lot. Then I read the book, and I wanted to infuse much more from the book.

Can you give me some specific examples of things you changed?

Everything about it. Eliminating Driver's past, casting Carey Mulligan instead of a Latino actress because that's what the character is in the book, condensing the script by 25 pages, the elevator scene, the ending. So many things. It's hard; every detail added up to a complete transformation.

I also read that you've failed your driving test eight times.

[laughs] Yeah.

First of all, how is it possible to fail eight times? Did you screw up a specific thing, like parallel parking?

I don't even know what that is.

You don't even know what that is? Maybe that's part of the problem.

I just failed, failed, failed.

When you can't drive, does that have any impact on the way you make a movie called "Drive" about a guy who drives a lot?

No, because I wasn't making a movie about cars. I was making a movie about a man who owns a car.

There are some really cool driving sequences in the movie, though. How much control do you have over those? Do you design them or do you leave that to the stunt people?

Well, a good director is not an expert in anything in particular. A good director just knows a little bit about everything. And then he utilizes the various experts around him to help him realize what he wants to do.

So in the case of the driving, you have your experts, but how much direction do you give them? Does the script just say "Chase Sequence" or is it detailed?

It said "Chase Sequence" when I was done with it, because I would constantly
change things. I was shooting in chronological order, and that changed things constantly.

Why chronological order?

It makes it more interesting, seeing what will happen. It makes it more dangerous to perform, and it makes [shooting] more of a discovery process.

The silver jacket with the scorpion on the back that Ryan Gosling wears gets a lot of screen time. How did that become his signature look?

I wanted [Gosling] to wear a white satin jacket that would illuminate him at night. Good actors find their own costumes, so Ryan found a type of jacket that he really liked. And then we had that type of jacket made in satin. And then on top of that we incorporated the scorpion logo on the back.

Who has the jacket now?

I have a jacket, Ryan has a few, and my wife has more. Only the three of us.

Have you ever worn it?

My wife wears it sometimes.




ADVERTISEMENT 
Ryan is playing this figure we've seen before, the tough, brooding wheelman. But he does something that very few of these characters do, which is smile. He has this very warm smile that he shows Carey Mulligan's character.

Absolutely. He is a combination of violence and romance. That was based on Grimms' fairy tale structure. By day, he was a human being, by night he was a hero. And the movie is about his transformation into this superhero, by bringing his human morals into the hero role, so that he does what he does for the right reasons.

So the scorpion jacket is almost super-heroic.

It's part of his costume.

Right. For months, I've been really intrigued by the posters for this movie with the title written in hot pink script letters. Then I saw the film and realized that's the font of the opening titles. It's such an unusual, striking choice. How did you come up with that?

I wanted that kind of font because it's timeless, in a way. It's like a hand drawn logo, which is also like old fairy tales. If you look at old fairy tales, they're always beautifully choreographed and designed.

The violence in the movie reminded me a little of the violence in "Bronson," where it appears in the sudden explosions after moments of stillness. Both seem to be about the anticipation of violence as much as the violence itself. Is that fair to say?

It sounds fair. I'm a fetish filmmaker; I just make films based on what I want to see.

So you don't intellectualize it at all?

On the contrary. I fear it.

So are the feelings primarily on the set or in the editing room?

It depends on what you do. Car chases are all about editing. And more physical violence, emotional violence, is more about the performances.

Ryan's character has these rules that he follows as a wheelman. Do you have have any rules that you follow as a filmmaker? It sounds like following your instincts would be one.

Also: making sure you're always a little bit out of your depth. That forces you to be more creative. Art thrives on obstacles. The bigger the obstacle, the better the drama.

All right so you have two more movies you're working on now with Ryan Gosling including a remake of "Logan's Run." Why did you want to remake that film?

I've always been obsessed with the original. I remember seeing it when I was really little on television. There was something about it that was so hypnotic. This whole disco world that they walk around in was like "Wow!"

Do you plan on making a faithful remake?

No.

A total reimagining?

Well, it would only do it justice. What I have to do is reinvent it. Otherwise, why make it?

Looks like our time's up. Thanks very much.

Thanks. Did you like the movie?

I did.


What was your favorite part?

Well, I see a lot of action movies. Most are pretty derivative. I appreciated the fact that this looked nothing like the other action movies out there.

What was your least favorite part?

If I'm being totally honest, I was disappointed that there wasn't more with Carey Mulligan's character. Maybe that was by design, but after you build up her relationship with Ryan, she doesn't have much to do in the last third of the film. I really liked her performance and I wanted to see more.

That's good. Wanting to see more is good. You don't want someone to say they've seen enough.

[crippled_avenger]

Pogledao sam MONEY MOVERS Bruce Beresforda, baziran na knjizi Devon Minchina. Reč je o heist filmu sa velikom dozom suptilne komedije i vrlo veštom upotrebom suspensea i nasilja koji govori o korupciji unutar velike kompanije ze prevoz novca u oklopljenim kamionima. Ogroman broj likova koji imaju krajnje opskurne namere čini da ovaj film u pojedinim trenucima postane konfuzan i da se do kraja gledalac ne veže za likove, međutim, bez ikakve sumnje od početka do kraja stoji kao intrigantno delo.

Iako mi je od reditelja koji su postigli značajan uspeh u Holivudu Beresford uvek nekako ostao najmanje zanimljiv, ovaj njegov australijski rad iz 1978. godine pokazuje da je reč o vrlo ozbiljnom talentu holivudskog kalibra a na ovom filmu su kao DP i švenker radili kasnije eminentni holivudski DPjevi Don McAlpine i John Seale. Međutim, i u ovom filmu upravo kroz nedostatke, kroz nejasno razgraničenje da li je reč o društvenoj kritici ili čistom heist filmu koji se reflektuju na probleme sa pripovedačkim fokusom, Beresford anticipira ambivalentnost koja će biti prisutna i u njegovim kasnijim holivudskim filmovima koji su u većini "najboljih slučajeva" više bili uspešni nego istinski značajni filmovi. Međutim, isto tako, on je imao i najkraći period rada u holivudskom mejnstrimu i najmanju autonomiju u izboru projekata pa ostaje otvoreno pitanje da li je uopšte mogao da postigne nešto više.

* * * / * * * *