The Crippled Corner

[crippled_avenger]

Ko je zainteresovan za budućnost a bogami i sadašnjost srpskog filma, treba da vidi ovo

Djacka istorija srpskog filma 2004-2005 (prvi deo)

[crippled_avenger]

Nicolas Winding Refn Says 'Dying Of The Light' Fell Apart Because Harrison Ford Didn't Want To Die


We realize that you may be suffering from a little Nicolas Winding Refn fatigue from all the coverage we've been doing on the director and his fantastic new film, "Drive," but the filmmaker and star Ryan Gosling have been on a major press tour for the film pretty much since its Cannes debut. One of the hopefully final stops for the Danish director was at BAM (Brooklyn Academy of Music) a few nights ago for a sneak preview of his latest, and we were on hand for the Q&A. Refn kept the Brooklyn audience rapt in attention as he told a few now-familiar tales about how the film came together and his first prescription drug-fueled meeting with Gosling. He also shared a little more info on a now-dead project called "The Dying of the Light" by "Taxi Driver" scribe Paul Schrader. The film centered on a C.I.A. agent who starts to become afflicted with blindness and Harrison Ford was attached to the lead.

Unfortunately, the project fell apart around February of last year and Refn had this to say at the time, "Unfortunately, it just didn't work out. It's a shame. The script was fantastic but things fall apart. It's one of those things that's difficult—I really like Harrison and I think we got along great." That certainly is the case in Hollywood that things don't always work out but now we have a few more details on exactly why the collaboration never moved forward. Here's what Refn had say:

    "It was a wonderful, wonderful script about a C.I.A. agent who goes on an existentialistic journey and dies at the end. And I thought, 'If I could do a movie where Harrison Ford dies, I would contribute to society.' So I was really into making this film. And I had gone to Los Angeles for short periods at a time to work with him. And you know, because it's Harrison Ford and you sit around in his big hangar with all his private planes and you hang out with Harrison Ford. Then he realizes that he doesn't want to die. Then it's like, 'Fucking hell. Okay, then there's no movie, Harrison.' Well he'd been thinking about it and 'Wasn't there another way?' and back and forth. And I thought, 'Oh God dammit.' So I was so angry at myself for buying into the illusion of Hollywood and of course, nothing ever happens."

Luckily for moviegoers, shortly afterwards Refn received a call from Gosling and the rest is history. "Drive" is in theaters this weekend. Ford's latest, "Cowboys & Aliens," will probably be on DVD in the next few months. You can watch the rest of the Q&A below.

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Glenn Ficarra & John Requa are the writers/Directors/producers of one of my favourite romantic comedies of the past couple of years, "Crazy Stupid Love". And I think the reason it's one of my faves is because it's not your standard 'rom-com' – it goes much deeper; there's some serious stuff in here woven in between all the humour and sweetness. The film's been pretty darn successful so when I had the opportunity to speak to the duo recently I brought up the subject of 'sequel'. While "Crazy Stupid Love 2″ is still two decades away at the earliest, the duo did talk a little about "Bad Santa 2″ (which they're not involved in) and a couple of other upcoming projects, one which reunites them with "Crazy Stupid Love" star Steve Carell.

Untitled Con Movie
Glenn: Another con movie. "Mikey had a plan. But... "
John: A romance, a con romance. We thought it would be interesting to a movie about two con people, a man and a woman who fall in love and suddenly... Because to be a con you have to sort of, in a way turn human beings into objects or things that are to be manipulated. But then to have people fall in love and suddenly their kind of humanity and morality is a little bit... To have them deal with it and does it affect their ability to do their job. So it could be... It could be very funny.

Untitled Steve Carell comedy
John : Well... We're working on something with Steve also, that he's producing. He's not starring but it's based on the idea he had. We wrote the script already. It's one of these three friends from college, but now they're in their 40s, movies. They're going on a European backpacking trip that that they never did. And it's filled with all this middle-aged fun.
Clint: Oh really. My father did that. He bought back a wife. Californian wife.
Glenn : Oh, really? Wow, what!?
Clint : Same age as me. Went on a European tour, they were in a bus and within a week they were engaged.
Glenn: That's something we could add to the movie. We have something similar in our movie but ours doesn't have a happy ending.

Crazy Stupid Love 2
Glenn: You never know.
John : In space.
Glenn : No, I don't think anybody involved would want to do it. Yeah. I mean, maybe perhaps in twenty years we might reunite everyone and revisit the characters; we could see different phases of their lives. But right now I think, you know, we've sent them on their way.

Bad Santa 2
John: Well there's a sequel to Bad Santa coming. We're not involved but it's in the works.
Glenn : There are two writers working on two separate scripts.
John : Yeah. They want us to direct it, but we said "No."
Clint : No?
John: No.
Clint : I don't know if you can top Bad Santa...
John: I don't think so. Billy Bob's involved. Terry Zwigoff is not involved and we're not involved.
Okay.
Glenn : Yeah. We'll see how it goes. If it comes out great then that sells DVDs for the original. And if it comes out bad it makes the original seem that much better. [laughter]
That's right.
John: That's the best kind of money that exists in Hollywood, which is characters based on money. The check just lands on your doorstep doing nothing.

[crippled_avenger]

Glenn Ficarra & John Requa are the writers/directors/producers of one of my favourite romantic comedies of the past couple of years, "Crazy Stupid Love". And I think the reason it's one of my faves is because it's not your standard 'rom-com' – it goes much deeper; there's some serious stuff in here woven in between all the humour and sweetness. I  had a chat to the guys about the film and beyond.

Loved the film.  It is good balance of the silly and the sweet.

Glenn :  Yeah. I mean. I didn't realize this until after we were done with the movie. But it's, maybe the first romantic comedy I can think of that's from a male perspective. And I'm an idiot because it took me that long to figure that out.

John: You're the director, you should know these things.

Glenn: Yeah, I should know these things and it's one of the reasons I think that people responded to the script because I don't think you ever get that angle on it because maybe marketing wise it doesn't make sense.

Glenn: Wow! So okay, there's that but other than that, no.

John: He based it... The writer based it on Jerry Maguire, which is... It's interesting. We watched... Before we even started shooting, we got together with a bunch of great writers and film makers and we screened Jerry Maguire at the theatre at the studio and we just sat around and talked about a bit afterwards and it really strikes you as, that is basically a movie about two men and the whole, you know... Which is all that, the romance stuff carries so much weight and so much what you remember about the movie, but it's a very small part of movie.

Glenn: Yeah. She's a reward really. She's not... I remembered that movie before we started screening it and it was about them and more about her and she is a very small part of that movie.

Yeah. She really is. She really is. It's Cuba that t makes Tom the better man at the end. And Renee is the reward. His transformation. And of course, this goes without saying, Love Actually was a clear inspiration? even the structure of it, was that an influence? It would be obviously you'll what's on the script, but in terms of the directing?

John : Yeah. We loved the movie.

Glenn: Yeah. The sub-plot with Emma Thompson and Alan Rickman. Where, you know, people are really put these heavy things about adultery and divorce and what was a fairly liked comedy. Richard Curtis is able to balance the tone well. We really are into that.

He's someone who also that's able to ground his comedies in reality and that is obviously important to you guy's. So maybe you think you feel that you know these people and they are real people, they're not puppets you know?

John: Yeah. It's such universal themes and you just want it to be grounded. And you want, you want to earn that emotion at the end. But you also want to play with how far you can go to get a laugh and still not lose the audience. That's sort of the fun kind of balancing act that really excites us as filmmakers. And it excites the actors as well and the editors to find that line. And lot of times we would find ourselves shooting versions of the scenes that get different tones and go into the editing room to try to find that tone to see how far we can push the boundaries.

Glenn : Steve is really excited about that. You can see in our previous movie, we really pushed hard in both directions. And he really wanted to play with that too.

John : I think that's the most interesting stuff out there for me. Just as filmmakers, I mean, I think, I think, it's what gets us excited like when we see movies that really play with the tone, we really get excited by it.

Despite whatever kind of film it is you've got to feel, I think, that you can relate to these characters you know?

John : I'm glad you brought this up, by the way. Here we are in Australia and the movie that started us down this path, to mixed tone, guess what it was?

It was Mad Max. : Beyond Thunderdome

John : [Laughs] Muriel's Wedding.

Muriel's Wedding, of course.

Glenn: Yeah. That was a mixed tone movie and I remember seeing that movie. What was it in '98?

No, it might have been earlier, '94 I think.

John: Seeing it when it came out and just going it's in my top 5 favourite movies of all time and seeing it going "this is the brave new world". You know, this is really where movies need to be going. I mean Caper was doing it too. But boy, what an exciting territory we sort, we sort of... And our movies have always had it. But as writers, but it's all been removed. It only until we got to be able to we were able to direct our own movies, that we were able to actually go for the mixed tone. The modelling and the heartfelt emotion up against really broad comedy.

Glenn: Yeah. I think. The only other people that were doing it since then were Crowe and...I think Alexander Payne does it too but it's become a more narrow band.

What about James Brooks?

Glenn : James Brooks, earlier days. Lars Von Triers too.

John: Yeah. He's really interesting.

Yeah. There's a rumour that you guys were taken out by Warner and they pretty much said you can do whatever you want, what you want to do?

Glenn: Yes.

Was it at the time...

John : Jeff Robinov was an old friend of ours. We did our first movie when he was junior Vice President at Warner Brothers, which is Cats and Dogs. And so he saw a little Phillip Morris and he was saying he was very impressed and he was just proud of us being old friend he says, "I'm the President of the studio now. What do you want to do, tell me what you want to do.", and I said "Batman". He said that's taken. What else do you want to do?

John: We actually were saying, we are so exhausted from Phillip Morris that really, we don't think... We said, we didn't want to make another movie. He said "Really? I'm sitting here and offering you whatever you want". "No, no, now we're good". And I think about a year later we called him, we had read the script, said "We want to do this" and he is like he said "Okay". I mean you know, because we didn't want... [chuckle] That was how we passed the audition.

Steve Carell was attached to Crazy Stupid Love before you came on?

Glenn: Yeah.

And that would have helped this script get through I imagine too, at Warner. Have a big name attached?

John: It was... In the lot of moments we had the script, there was a huge script sale and I think it's was sold in, prior to Christmas and we were in production four months later. Because Steve was still doing The Office, a very limited window in which to shoot the movie. So there wasn't a lot of time to get over and talk with studio about it. We were just going to left to our own devices with the writer and sat down with him and we did some changes together and get him right into it.

I'm sure there were changes. What was the script like originally – racier?

Glenn: It was an R Rated script, but maybe mainly for language. And...

John: It was a soft R. So to bring it into a PG 13 was not a big effort. It wasn't like the movie was compromised that much. There's a few things, but...

So instead of Dirty Dancing,  it originally had a Porky's 2 homage?

John: Yeah (Laughs)

Glenn: That was Ryan's idea.

Oh, really?

John: Yeah.

You know, it's perfect. Because that's what I do with my four year old daughter every Friday night.

Glenn: Really?

Yeah.

John: That's so sweet.

But I never thought of it as a good pick-up thing for women! It's a great one...

John: Well, you have to have the upper body strength.

Oh yeah. That's right.

John: Yeah.

He is a...

Glenn : Not all for you.

True.

John: But it's all about, it's an interesting thing when you do it in reality because it's all about momentum. The woman has this sensation that she is going to right go over her head, because what she does is she runs at him without stopping. He puts his hands on her hips...

Yes.

John: She puts his hands on his shoulders and pushes off. And so it feels like they are going to go like that. But he is arresting that inertia with his hands and that's how you get her up like that. And so it's terrifying apparently. We even had, when we are testing it with our stunt woman, she was terrified. And she is a woman who's used to being thrown around and so [chuckle] it was really difficult. So all that nervous energy is real.

Wow!  It's great. It's just works so good in your film... and hey, Dirty Dancing, it's a pretty decent movie you know!?

Glenn: Yeah.

John :  That movie had some weird tones.

It does.

Glenn : Yeah, really heavy stuff in there.

I think it's like, an 80-esqe kind of music video film. Like my wife says of Top Gun. Every time I put Top Gun on, it's just "here's that 90 minute music video" again.

John : Our writing professor in college was convinced that Top Gun was porn. I mean it was like... Jock Porn, he called it.

Glenn: I think a lot of the Bruckheimer movies are jock porn

Obviously the experience of I Love You Phillip Morris, caught up in the whole legal wrangle,  put you off film a little bit...

Glenn: It was The Heartbreaking, that what it was. Because you were...

It got kind of lost.

Glenn: And the movie was really well... We tested it with audiences, it was testing really well.

John: Surprisingly well you know. We would get in the eighty's what kind regular comedy makes, and we were showing it to a general audience. And audiences genuinely liked the character so much that they were looking past that it was a movie about two gay guys. And so when it didn't really... So we thought we... We didn't never thought that it was going to make a hundred million dollars, but we thought we can have a successful art house release. But for various reasons, we just couldn't get people in the door. And we really didn't have a distribution... Just enough theaters that if it ever caught fire that it would go, it would do well. But ultimately I think it's been fun. One of the nice things about doing press for this movie is we're kind of hearing this, like it's found its life.

Glenn : People have found the movie and are enjoying it.

Yeah. So at the end of the day it's... I suppose sometimes it is merit over money and at least now...

Glenn: We certainly never did it for the money.

John: You don't do the gay prison escape [laughter] Con Air movie for the money.

So Crazy Stupid Love is a hit. What next?

Glenn: Right. It's that... Another con movie. "Mikey had a plan. But... "

John: A romance, a con romance. We thought it would be interesting to a movie about two con people, a man and a woman who fall in love and suddenly... Because to be a con you have to sort of, in a way turn human beings into objects or things that are to be manipulated. But then to have people fall in love and suddenly their kind of humanity and morality is a little bit... To have them deal with it and does it affect their ability to do their job. So it could be... It could be very funny.

Yeah. Sounds like that's a good one for Steve Carell!?

Glenn: Yeah. Well...  We're working on something with Steve also, that he's producing. He's not starring but it's based on the idea he had. We wrote the script already. It's one of these three friends from college, but now they're in their 40s, movies. They're going on a European backpacking trip that that they never did. And it's filled with all this middle-aged fun.

Oh really. My father did that. He bought back a wife. Californian wife.

Glenn : Oh, really? Wow, what!?

Same age as me. Went on a European tour, they were in a bus and within a week they were engaged.

Glenn: That's something we could add to the movie. We have something similar in our movie but ours doesn't have a happy ending.

In terms of this film's marketing, I mean, how do you go... I mean do you market it as more of a romantic kind of film or you market as laugh-out-loud comedy?

Glenn: I think it's... Probably the choice... That's we want to sell it as a romantic comedy.

14:00 S1: Yeah.

Glenn: And deal with whatever people's preconceived notions are. I think it's different, it's so much different.

It is different, yeah.

John : Well I always say... I was saying in a lot interviews, I say "For the men out there, I promise you ball humour." You know it is a heartfelt movie and has real emotions. It's about a relationship but it's also a very broad comedy with lots of fun in general that the people... That everybody responds to. It's not... Just like... It's like... You know it's what a general audience movie used to be. And I think what's happened is the market has gotten so saturated, there's so few opportunities to present your movie to the public, that movies have to kind of boil down to one concept. But this is actually a movie that's kind of coming from the past in that it has several concepts. But our test market has proved that the men liked the movie as much, if not, more than women.

Yeah. And finally is there a sequel in the future? Crazy Stupid Love or any of the other films.

John: Well there's a sequel to Bad Santa coming. We're not involved but it's in the works.

Glenn : There are two writers working on two separate scripts.

John : Yeah. They want us to direct it, but we said "No."

No?

John: No.

I don't know if you can top Bad Santa...

John: I don't think so. Billy Bob's involved. Terry Zwigoff is not involved and we're not involved.

Okay.

Glenn : Yeah. We'll see how it goes. If it comes out great then that sells DVDs for the original. And if it comes out bad it makes the original seem that much better. [laughter]

That's right.

John: That's the best kind of money that exists in Hollywood, which is characters based on money. The check just lands on your doorstep doing nothing.

Well you can do a Crazy Stupid Love sequel...

Glenn: You never know.

John : In space.

Glenn : No, I don't think anybody involved would want to do it. Yeah. I mean, maybe perhaps in twenty years we might reunite everyone and revisit the characters; we could see different phases of their lives. But right now I think, you know, we've sent them on their way.

With Ryan Gosling still using the Dirty Dancing moves in 20 years, it's going to be a sad thing...

John : Yeah [Laughs]

- CLINT MORRIS

[crippled_avenger]

Warren Beatty's latest project has moved from Paramount Pictures to New Regency, Beatty told TheWrap Friday evening.

Beatty wrote, will star in, produce and direct the movie, which is about the reclusive billionaire Howard Hughes.

Beatty declined to comment on why the picture is no longer at Paramount. And he said the movie is about Hughes but is not a biopic.

Brad Weston, New Regency's president and CEO, told TheWrap Friday evening that Beatty and New Regency founder Arnon Milchan have been talking "for years" about making the movie.

He said New Regency recently acquired the picture.

A spokesman for Paramount also confirmed the picture's move.

New Regency is partly owned by and has a distribution deal with Fox.

There had been talk that Alec Baldwin and Jack Nicholson were circling roles in the movie.

Also Read: Warren Beatty to Write, Direct, Produce and Star in Paramount Movie

Paramount's chairman and CEO, Brad Grey, announced in June that the Oscar-winner would make the film.

At the time, Grey issued a statement saying, "Warren's script is quintessentially Beatty, elegantly written and wonderfully entertaining,. It is our privilege to have one of the great artists in the history of the film industry come home to Paramount."

The 74-year-old Beatty won the Academy Award for directing the 1981 "Reds." He last directed 1998 "Bulworth," which he also starred in, wrote and produced. Fox distributed that.

The Howard Hughes project is expected to begin filming later this year.

Martin Scorsese's 2004 "The Aviator" is a Hughes biopic.

[Tex Murphy]

Ohoho, odlična vijest! Voren Biti je jednostavno faca na kvadrat!

[crippled_avenger]

da vidimo šta snima kolega iz ABCs OF DEATH:

Dir/scr: Nacho Vigalondo. Spain. 2011. 94mins Timecrimes, which was picked up for remake by DreamWorks, has focused attention on Spain's Nacho Vigalondo, and his ingenious follow-up, the low-budget comedy Extraterrestrial, justifies the fuss.>Extraterrestrial is an inventive chamber piece that marries the alien invasion and rom-com genres with a cheery sense of audience collusion.Though it ultimately strains to make 94 minutes, Vigalondo's take on a UFO "invasion" of Spain should find an extremely receptive home crowd and niche international audiences via Wild Bunch, especially on home video.Calling Extraterrestrial a "sci-fi" feature is perhaps something of a stretch, as Vigalondo's hovering spacecraft are merely the backdrop to a Madrid apartment where an amusing Euro rom-com is about to play out.
The film opens to the sound of throbbing club music just before Julio (Julian Villagran) wakes up in Julia's (Michelle Jenno) apartment with the mother of all hangovers. Evidence points to a drunken liaison, and both - who don't even remember meeting each other - are sloping off to their respective corners when they notice that the Internet, television, phone, etc, aren't working.
A quick look outside the window reveals that the mother of all spaceships - about 14 miles wide, according to structural engineering student Julio's quick calculations - is hovering over Madrid, and, in sleeping off the night before, they've managed to miss the entire city being evacuated. Only Angel (Carlos Areces), Julia's stalker neighbour, remains, because even the threat of an alien invasion can't dampen his obsession with her.
Soon enough, though, Julia's boyfriend Carlos (Raul Cimas) comes back from the evacuation camps to find her, and the film starts to take on Shallow Grave-style intimations as Julia and Julio are forced into rapidly escalating manoeuvres to hide their liaison from Carlos.
Chief among their ruses is the suggestion that aliens may have already infiltrated Madrid and bodysnatched, say, Angel, when he threatens to blow the whistle for his own nefarious purposes.
Evidently made on a shoestring, Extraterrestrial is an inventive chamber piece that marries the alien invasion and rom-com genres with a cheery sense of audience collusion. Despite Vigalondo's sustained inventiveness, though, the limitations of the scenario (and, no doubt budget) make themselves felt with scant exteriors and cast, although Miguel Noguera as a member of the "resistance" who fronts a guerrilla TV network is a welcome addition to the crew. Technical credits are fine, and, once again, the suggestion of a remake may well be mooted.

[crippled_avenger]

Pogledao sam PRIČU O FABRICI Vladimira Pogačića. Reč je o vrlo zanimljivom, potencijalno čak i dosta ekscentričnom filmu ako imamo u vidu način na koji je dotakao temu subverzivnog rada ustaške emigracije koja se krije u katoličkim samostanima i aktivira se kroz razne vidove diverzija i propagandnih aktivnosti.
PRIČA O FABRICI spada u red jugoslovenskih filmova koji su se bavili temom izgradnje i industrijalizacije a koncipiran je u formi suđenja koje onda okida flešbekove što je samo po sebi jedna karakteristična socrealistička polemička forma u kojoj se dijalektika gotovo bukvalno sprovodi u delo.
U tom dosta pretencioznom manipulisanju strukturom, Pogačić pokazuje prilične slabosti u vođenju priče i na kraju ovaj film ostavlja utisak prilično konfuznog dela sa dosta praznog hoda i dosta nezaokruženih likova.
Ipak, u kontekstu tadašnje jugoslovenske produkcije, jasno je da ovaj film nagoveštava Pogačićeve potencijale koji će kasnije biti mnogo bolje iskorišćeni u poznim radovima.

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[crippled_avenger]

Harvi, ZAJEDNO, onaj film koji te je neobicno zaintrigirao krece ovih dana u bioskopima. Proveri da li stize i u srpske zemlje preko Drine. Ako ne, organizovacemo ovde neku akciju za gledanje...

[crippled_avenger]

Pogledao sam BLACKTHORN, novi rediteljski rad Amenabarovog scenariste Mateo Gila. Gil je od početka meni delovao kao vrlo zanimljiva pojava i ako izuzmemo zaista neverovatan uticaj ABRE LOS OJOS, mislim da Gilov NADIE CONOSCE A NADIE i danas stoji kao jedan od najzanimljivijih reprezenata španske žanrovske scene u tom istorijskom trenutku. Gil je u međuvremenu počeo i da režira i BLACKTHORN je jedan pikantan vestern, šmekerski urađen sa Sam Shepardom, ilinojskim Žikom Kišobrancem, u glavnoj ulozi.

Shepard igra Butch Cassidyja, pod pretpostavkom da Butch i Sundance nisu ubijeni od strane bolivijske vojske već da su preživeli masakr. Sada, već star i zaboravljen, on odlučuje da se vrati u Ameriku i poseti Sundanceovog sina, proisteklog iz svojevrsnog ljubavnog trougla u kome se Butch i Sundance živeli.

Na tom putu, Butch sreće novog odmetnika i pljačkaša koji u sve uvodi svojevrsni politički, naizgled robinhudovski motiv, i sa njim razvija prijateljstvo, proučavajući zašto bi mogli ali i zašto nikada ne bi mogli da se zbliže.

Pored "sina", na tom putu Butch susreće i svog progonitelja, koji je u međuvremenu propao jureći ga a sada više ni ne zna šta da radi kada ga ulovi jer Butch na slobodi ostaje jedini smisao njegovog života.

Gil sve ovo obogaćuje jednom vrlo suptilnom ali čitljivom thirdworldističkom dimenzijom - njegovi junaci su sada deo jednog specifičnog bolivijskog ambijenta u kome se susreću američki odmetnici, anglosaksonski kapitalisti, španski osvajači, i domaći narod koji je eskploatisan koliko i njegova zemlja ali je raspoložen da neke od tih stvari menja. Stoga, BLACKTHORN se završava prilično optimistički i mislim da je to vrlo namerna posveta otporu imperijalizmu koji Bolivija upravo sada pruža.

Sa multitalentovanim Shepardom u ulozi mladog razbojnika sparinguje Eduardo Noriega, vrhunski glumac koji je ovde dobio ulogu koja mu odgovara. Gilov rediteljski postupak je sveden, nekada su se tako radili vesterni (doduše sa više akcije) a danas to dobija gotovo arty dimenziju. Pa ipak, BLACKTHORN se vrlo dobro uklapa i zauzima zapaženo mesto među "ozbiljnim" vesternima koji su snimani poslednjih godina i pokušavali da prepletu istoriju i žanrovski ugođaj.

Gilovi junaci istovremeno jesu i apatridi i filmski revolveraši, ali kada filmski revolveraši više nisu legitiman repertoarski koncept, on nalazi pravi balans sa istorijom kako političkom tako i ličnom. Uprkos potencijalu za crossover u art house, BLACKTHORN ipak nije podjednako zanimljiv publici koja nije barem u grubim crtama zainteresovana za milje, koja ne razume da ispod reke Rio Grande odmetnike čeka spas.

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[Meho Krljic]

Meni je ovo priličan užas, ali ja sam snob:

Lou Reed & Metallica: The View

[Father Jape]

Kad sam cuo da snimaju album zajedno, zamisljao sam daleko uzasnije stvari.

Ovo jos moze da prodje kao... interesantno.

[crippled_avenger]

Meni je isto jezivo. BTW, novi Mastodon mi je premekan ali solidan na kraju krajeva.

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Pogledao sam ESSENTIAL KILLING Jerzy Skolimowskog, njegov drugi povratnički film posle desetogodišnje pauze tokom koje se bavio slikarstvom. ESSENTIAL KILLING je neobičan film potere, rekao bih iste vrste kao SPARTAN Davida Mameta, ali sa tom razlikom što je SPARTAN bio arty triler sa dosta verbalnog a ovo je arty film potere bezmalo bez reči ili bar sa rečima koje zapravo nemaju značajnu ulogu za objašnjavanje zapleta.

Skolimowski je dakle formalno dosta konzervativan na nivou žanra ali je vrlo raspložen da zaoštri stvari na nivou same egzekucije. Njegov film o Džihadisti nejasnih motiva koji završava otet i zatočen u tajnom NATO zatvoru u Poljskoj iz kog beži posle saobraćajne nesreće u transportu, počinje kao jedna dosta jasna a opet zbilja suptilna kritika taktika War on Terrora a potom se pretvara u priču o preživljavanju u kojoj junak gubi svoj politički predznak.

U tom smislu, ogoljenost priče o junaku remete elegični flešbekovi kojima Skolimowski pokušava da nam podcrta junakovu ličnost, da nam pokaže da junak ima ili nema čemu da vrati, iako je dosta logično pretpostaviti da svaki duševno zdrav čovek ima neki motiv da preživi.

Film je sniman u Izraelu, Poljskoj i Norveškoj, i Skolimowski odlično koristi lokacije, a kad je reč o kadriranju, ESSENTIAL KILLING deluje vitalnije od mnogih stvari koje je Skolimowski snimao kad je bio mlađi.

U produkcionom smislu ESSENTIAL KILLING je klasična evropska koprodukcija raznih zemalja, sa raznim ustupcima koji su činjeni ovima i onima ali rezultat je vrlo efektan, precizan i uspeva da prevaziđe sve nametnute klopke koje je donosio Eurimages novac. Dakle, u slučaju talentovanih ljudi, fondovski film ne mora uopšte biti problem.

U filmu inače ima jedna scena iz bezmalo miiikeovskog domena ludila koja me je moram priznati zatekla, ne toliko svojim sadržajem koliko time što tako nešto nisam očekivao od čoveka u Jerzyjevim godinama. Šteta ješ što naši veterani nisu u ovakvoj formi.

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Meni je isto jezivo. BTW, novi Mastodon mi je premekan ali solidan na kraju krajeva.

EEE! Novi Mastodon je meni najslušljiviji od svih nezanimljivih Mastodona. Jeste mekan ali je otišao u stoner pa mi to leglo.

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crippled_avengeru jesi li overio homeland?

[Meho Krljic]

Jevote, Čarli Šin zabo 25 milijuna u setlmentu za Two and a Half Men

Charlie Sheen, Warner Bros. Reach a Settlement Over Two and a Half Men Dispute

Charlie Sheen, Warner Bros. Television and Two and a Half Men creator Chuck Lorre have reached a settlement over the actor's $100 million lawsuit against the studio, TVGuide.com has confirmed.

"Warner Bros. Television, Chuck Lorre and Charlie Sheen have resolved their dispute to the parties' mutual satisfaction," the studio said in a statement. "The pending lawsuit and arbitration will be dismissed as to all parties. The parties have agreed to maintain confidentiality over the terms of the settlement."
While details of the settlement were not released, the former Two and a Half Men star will reportedly get roughly $25 million to settle out of his contract, which represents Sheen's participation in profits from the show, according to L.A. Times, who initially reported on the near-resolution of the settlement. According to The Hollywood Reporter, the terms of the settlement include Sheen dropping all of his legal claims.
Charlie Sheen sues Warner Bros., Chuck Lorre for $100 million
Sheen was fired from Two and a Half Men after numerous and lengthy rants against series executive producer Chuck Lorre, Warner Bros. and CBS when the show failed to resume production after a hiatus was taken for Sheen to enter rehab. The 45-year-old actor filed suit 10 days after he was fired.
In the suit, Sheen claimed he was fired from Men because he criticized the show's producers. "Defendant Chuck Lorre, one of the richest men in television who is worth hundreds of millions of dollars, believes himself so wealthy and powerful that he can unilaterally decide to take money away from the dedicated cast and crew," the lawsuit states.
Sheen also claimed that it was only after he began publicly criticizing Lorre and Warner Bros. that the studio decided to terminate the actor's services for "breach of contract." Sheen also blamed his former boss for "humiliating, harassing, and disparaging" him for years.
Charlie Sheen on his post-Men behavior: There are "portions" I would've amended
Recently, Sheen has been backtracking on his rants. Appearing on Today, the actor told Matt Lauer "there are portions of it I would have amended a little bit." He also told Tonight Show's Jay Leno that he was "absolutely" out of control and he would've fired himself as well. "Well, maybe not like they did," he added. Even on the Emmys, Sheen offered his best wishes to his replacement Ashton Kutcher and the rest of the cast of Men on the new season.

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TWO AND A HALF MEN je neverovatan money machine. Meni njegova tužba od sto miliona u tom smislu uopšđte nije bila nerealna, jer u svetu tako uspešnih sitkoma, to su cifre koje mogu da se zarade od raznih prava, tantijema i sl.

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Drugi deo ĐAČKE ISTORIJE SRPSKOG FILMA

Djacka istorija srpskog filma 2004-2005 (drugi deo)

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Pogledao sam MILIJUNE NA OTOKU Branka Bauera. Danas se u Motovunu najbolji regionalni filmovi nagrađuju nagradom koja nosi njegovo ime. Kada se pogleda čak i ovaj rani Bauerov film, pre svega imam utisak kako je Bauer pre 56 godina bio moderniji od mnogih reditelja koji danas kod nas snimaju filmove.

MILIJUNI NA OTOKU jedino nisu uspeli da održe svoju tenziju na nivou saspensa jer reč je suštinski o kriminalističkoj priči sa decom u glavnim ulogama. Ipak, sva ostala stilska svojstva filma su očuvana i MILIJUNI NA OTOKU stoji kao jedan od svetlijih momenata rane faze naše filmske istorije.

MILIJUNI govore o grupi zagrebačkih dečaka koji osvajaju ogroman novac na sportskoj prognozi i odlaze na ostrvo na Jadranskom moru kako bi kupili brod i postali gusari. U njihovoj dečjoj igri veliku prepreku predstavlja par odraslih protuva koje polaze za njima sa namerom da ih opljačkaju.

Bauer vrlo vešto spaja stileme dečjeg i kriminalističkog filma, sve čini dovoljno pitkim i humanim a opet ne beži ni od sporadične surovosti ili tenzije. Međutim, ne samo da u pripovedačkom i stilskom smislu vlada stvarima već je jako solidan i na planu psihologije likova.

Ovo je film koji naravno mora imati poruku vezanu za odnos dece prema novcu, i naravno da ta poruka mora da bude kako postoje važnije stvari od novca, međutim Bauer uspeva da je plasira tako da ne dezavuiše dečji odnos prema novcu u potpunosti, i da ne ode u neko neubedljivo moralisanje.

U moralnom smislu mnogo je zanimljivije to što 1955. dakle tokom druge petoljetke, Bauer prikazuje Zagreb u kome ne samo da postoje protuve već se igra sportska prognoza i ona potencijalno može doneti veliki novac koji privlači pažnju kriminalaca. Pored toga, jedan od dečaka je klasičan mali hustler, živi na ulici, izvan sistema, i nema nikoga ko u tom "humanom" društvu brine o njemu.

Iako naravno sistem koji savršeno funkcioniše ubija mogućnost pričanja priče, ovoga svega ne bi bilo da deca ne mogu da se klade i da socijalne službe rade svoj posao, ali neke premise na kojima je baziran ovaj film su prilično hrabre.

MILIJUNI NA OTOKU su nastali po scenariju Arsena Diklića a sličan vajb je mnogo godina kasnije imao odlični MILLIONS Danny Boylea snimljen po Boyceovom romanu. Ovo je naslov vredan pažnje, pa i rimejka, samo sada u izmenjenim društvenim okolnostima.

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Pogledao sam EXECUTIVE ACTION Davida Millera iz 1973. godine, jedan od najspecifičnijih filmova o zaveri da se ubije JFK, nastao deset godina posle ubistva, sa prilično značajnim mestom među filmovima o teoriji zavere uopšte. Dok je u Evropi, naročito Britaniji, ovaj film doživljen kao intrigantan, upečatljiv, značajan, u Americi se smatra potpunom nulom od filma i kritika ga je generalno, gotovo unisono osporila.

Da li je politička dimenzija ovog filma ono što je dovelo do toga da ga američka javnost odbaci, a britanska prihvati? To bi se naizgled moglo konstatovati. Ekipa koja je radila ovaj film ima predistoriju sličnih aktivnosti, producent Edward Lewis će kasnije producirati MISSING Costa Gavrasa, njegov holivudski debi, i dosta je logično da je već tada bio inspirisan Gavrasovim radovima a scenarista koji je uobličio priču o ubistvu JFKa na osnovu teorija zavere Marka Lanea je Dalton Trumbo jedan od najčuvenijih blacklistovanih holivudskih scenarista.

Sam Lane je kasnije izneo određene rezerve u vezi sa svojom teorijom zavere i zbilja mora se priznati da je njegova teorija zavere kad je reč o samoj tehnici realizovanja atentata, a naročito u domenu okrivljivanja Lee Harvey Oswalda dosta radikalna. S druge strane, kad je reč o "političkim inspiratorima" ubistva, Lane se drži opštih mesta i strepnji američkih desničara, industrijalaca i vojno-industrijskog kompleksa u sprezi sa odmetnutim obaveštajcima i ti likovi su prikazani kroz nekoliko tipskih pojava.

Film je u Americi eksploatisao Warner Bros i zapamćen je kao veliki promašaj, ali film nije nešto previše ni koštao.

Disbalans u kritičkoj recepciji filma u Britaniji i Americi ipak, po mom mišljenju, najpre proističe iz toga što je ovo film bez klasične priče i dramske strukture. Ako ostavimo po strani da je film baziran na dosta grubom spoju dokumentarnog i igranog materijala, činjenica i fikcije, ono što ga odlikuje je nedostatak dramskog sukoba. Ovo je film o tome kako se odvijala zavera i svodi se na to da nam prikaže kako je osmišljena i realizovana bez ikakvog pokušaja da se u svemu tome pronađe ili konstruiše dramski sukob. Iako takvih efekata ima i kod Gavrasa on ipak, kao i čuveni pisci političkog pozorišta obično ima rudimentarni dramski osnov.

Ovo odsustvo drame međutim jeste postupak svojstven i prihvatljiviji u evropskom filmu, te je u američkim okolnostima limitirao domet EXECUTIVE ACTIONa samo na krug najzagriženijih konspirologa koji su nalazili snage da se time bave u niksonovoj eri.

Otud čini mi se da je pre svega estetika mnogo pre nego politika bila neprihvatljiva u američkim okolnostima. No, ruku na srce, ovaj film se i u našim okolnostima može preporučiti samo onima koje zanima teorija zavere na filmu, kao tema iz istorije filma, odnosno onima koje intrigira slučaj JFKa.

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Unuk Kim Džong Ila studira u Mostaru?

Kim Han Sol, unuk severnokorejskog vođe Kim Džong Ila, obratio se ambasadi BiH u Pekingu sa zahtevom za izdavanje vize radi školovanja u toj državi, ali ovaj postupak još nije okončan, potvrđeno je "Dnevnom avazu" u Službi za poslove sa strancima BiH.

"Ne možemo unapred kazati kakav će biti ishod te procedure, odnosno hoće li viza biti izdata ovom severnokorejskom državljaninu ili ne", rečeno je "Avazu" u toj službi.


List je juče objavio informaciju da je unuk zloglasnog diktatora Severne Koreje ove godine upisan u šestu generaciju Ujedinjenog koledža sveta u Mostaru, gde će se školovati naredne dve godine. Kako list saznaje, razlog zbog kojeg Han Sol još nije u Mostaru, uprkos činjenici da je nastava počela još 1. septembra, jesu rigorozne provere zbog činjenice da se odredjeni članovi porodice, kako se navodi, zloglasnog diktatora nalaze na spiskovima osoba pod sankcijama UN-a i Evropske unije

http://www.blic.rs/Vesti/Svet/279685/Unuk-Kim-Dzong-Ila-studira-u-Mostaru


Kim izdaje na svim nivoima

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Pogledao sam televizijski film Slavoljuba Stefanovića Ravasija BEOGRAD ILI U TRAMVAJ A NA PREDNJA VRATA, nastao po tekstu Milana Šećerovića, jednog od najinteresantnijih scenarista tokom sedamdesetih i osamdesetih. Šećerović je u tom periodu ostvario značajan i vrlo kvalitetan opusu i na filmu, gde je postigao vrhunac u izvanrednom SOKU OD ŠLJIVA Branka Baletića kao i na televiziji gde je jako puno radio.

BEOGRAD... zatiče Ravasija u vrhunskoj formi. Ovo je priča o beznađu grupe provincijskih boksera koji pokušavaju da se dokoaju Beograda i napuste depresiju rodnog mesta za koje ih više ne vezuje ništa sem uznemirujućih prizora starijih koji nisu uspeli da odu.

Šećerović i Ravasi prilično efektno dočaravaju tu atmosferu a drama je prilično oskudna na planu zapleta, tako da se više oslanja upravo na ambijent, odnose, tenziju nego na samu priču koja se dovodi do raspleta. Moglo bi se reći da je u tom smislu BEOGRAD možda mogao da ima koristi od nešto klasičnije strukture i malo snažnijeg zapleta.

Glumačka ekipa koja nosi film je izvanredna. Aleksandar Berček u najboljoj formi, Dragan Maksimović, Bata Stojković, Milutin Butković i Branko Kockica u fazi kad je bio avangardni glumac - to je stvarno izvrsna postava i oni sa velikom energijom sprovode Ravasijeve i Šećerovićeve u delo.

Televizijski direktor fotografije Duško Stefanović je odlično i vrlo moderno, sa dosta kamere iz ruke slikao ovaj film i dao je svemu film look tako da se televizijski vajb zaista minimalno oseća.

Da li je potrebno naglasiti da ovaj televizijski film deluje modernije od većine stvari koje nam RTS sada pušta?

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Pusti ti sad unuka Marka nego šta se zbiva u našoj Ligi, jel ti razumeš išta?

Ja sam sad nešto menjao, vidim Ibra mi dade gol. Ne znam šta će sad biti...

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Čoveče, to je podzaplet iz Poslednjeg Srbina!

Unuk Kim Džong Ila dolazi u neku bosansku zabit da sretne Hermana i porazgovara sa njim

i šta bre zezaš, drugi si na tabeli, dok sam ja na veličanstvenom 7. mjestu... Ibra ti se uračunao, 9 bodova. Da si njega stavio za kapitena umjesto Milera, sad bi imao 18 bodova od Ibre.

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STANJE ŠOKA je treći film Andreja Košaka koji je imao retku priliku da snimi slovenački film koji je bio blokbaster u Srbiji. AUTSAJDER je u svoje vreme imao kultni status ali od tog filma, Košak je snimio samo još dva što je dosta neobično i oba su u izvesnom smislu primljena kao promašaji. ZVENENJE V GLAVI, njegov drugi film, nisam gledao ali ako imamo u vidu da govori o zanimljivoj temi i da se Košak potvrdio kao reditelj koji elementarno vlada zanatom, ne očekujem da je reč o totalnom career killeru. Ipak, STANJE ŠOKA pokazuje da Košak ni sa trećim filmom neće postići kultni status AUTSAJDERA.

STANJE ŠOKA je slovenačka parafraza GOODBYE LENINa o radniku fabrike iz vremena socijalizma koji 1986. godine zapada u neko katatonično stanje pošto je previše pozitivno iznenađen nagradom za samoupravljača godine i onda dolazi sebi 1996. kada se Jugoslavija raspala, došao je kapitalizam i sl.

Moram priznati da je meni i GOODBYE LENIN kao primer tadašnjeg talasa "ostalgije" bio dosta tanak film ali je u njemu, kao i inače u nemačkom mejnstrimu bila dosta jasna mehanika po kojoj funkcioniše i taj film je dobro prošao jer je u pozadini senzacionalističke postavke o sinu koji radi majčinog zdravlja simulira postojanje DDRa ipak bio jedna porodična melodrama.

Kod Košaka, porodična melodrama postoji u začetku ali se onda ne samo raspadne nego on njom prestaje i da se bavi u toj meri da inicijalni zaplet o tome kako je supruga odustala od katatoničnog muža i udala se za njegovog prijatelja do kraja ne biva ni elementarno razrešen.

Srećom prijatelj je Srbin i igra ga Nikola Kojo tako da barem on nudi neke elemente najosnovnijeg crowdplasinga u ovom prilično šupljem filmu. Podela inače nije baš najbolja tako da recimo junakovu osamnaestogodišnju ćerku igra tridesetpetogodišnja Aleksandra Balmazović koju znamo iz SIVOG KAMIONA.

Produkcija STANJA ŠOKA deluje dosta bogato i ambiciozno, nekoliko zemalja je učestvovalo u nastanku ovog filma. Pa ipak, čini se da ova investicija uopšte nije opravdana jer filmu nedostaje elementarna vitalnost, nema nikakve ubeđenosti u priču a rekao bih da je i high concept preuzet iz nemačkog filma u međuvremenu postao bajat.

Osim opštih mesta o tome kako je Jugoslavija u osnovi bila humanija od kapitalizma, za STANJE ŠOKA se ne bi moglo reći da na kraju zauzima bilo kakav konkretan stav prema svojoj osnovnoj temi, mada je outlook generalno jugonostalgičan.

Zanimljivo je koliko se slovenački filmovi za razliku od naših bave problemima radnih ljudi, i koliko u njima činjenica da je junak zaposlen i da nešto radi igra značajnu ulogu. U tom pogledu, gotovo apsurdno deluje konstantno bavljenje krizom i ekonomskim problemima koji muče junake, ako imamo u vidu generalno viši standard Slovenaca u odnosu recimo na nas gde su pitanja rada i prihoda gotovo sasvim odsutna iz filmova.

Iako STANJE ŠOKA ima veće pretenzije, mislim da će najbolju budućnost imati ako bude plasiran kao populistička komedija pa me ne bi začudilo ako na tom tragu bude ostvario i značajniji rezultat na slovenačkom box officeu. S druge strane, Slovenci nemaju baš naročito povoljan odnos prema svojim etabliranim rediteljima i njihova kinematografija se po tome dosta razlikuje od naše, a Košak je već posle prvog filma postao u toj meri etabliran da je odmah generisao otpor, što mu je verovatno i onemogućilo da ostvari bogatiji opus kao recimo Damjan Kozole. Nisam siguran kakva će atmosfera usled toga biti stvorena oko ovog naslova ali postoji mogućnost da zbog unutaresnafskih tenzija ne ostvari ni ono što bi eventualno mogao.

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Detaljan pregled filmova koje je u seriji ENTOURAGE snimio Vince Chase.

http://dobanevinosti.blogspot.com/2011/10/entouragewhatculturecom.html

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Konačno, lepe vesti:

It was inevitable. After the success of the recent digital series for Warner Premiere, New Line has hired "Fame" director Kevin Tancharoen to direct a reboot of the "Mortal Kombat" film franchise reports Heat Vision.

Tancharoen directed "Mortal Kombat: Rebirth", a short film that served as a proof of concept for a movie he was pitching based on the classic 1990's video game. The short was an online sensation, generating over 10 million hits on YouTube. Due to its success he came on to helm a ten-episode web series, "Mortal Kombat: Legacy", which debuted in April and attracted over 15 million unique visitors.

Based on the success of that, New Line and Warners thought its time to revisit the franchise on the big screen. Oren Uziel, who penned 'Rebirth', is writing the script.

No actors are yet attached, though the new story will not share continuity with the digital series. Whether the film will keep the darker tone of the digital shorts rather than the larger fantasy epic of the original mid-90's movies is also unknown at this point.

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Warner Bros has set September 14, 2012 to send out its Ben Affleck-directed hostage drama Argo. Affleck stars alongside Alan Arkin, Bryan Cranston and John Goodman in the true story of a covert CIA operation to resuce six Americans trapped in Iran during the 1979 hostage crisis. The release-date calendar is fairly open that weekend, with the main competition so far being Sony/Screen Gems' Resident Evil 5, which just finalized its cast.

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Pogledao sam CRAZY STUPID LOVE John Reque i Glenn Ficarre, jedan od filmova koje sam najviše očekivao pre svega zbog rediteljskog dvojca koji je još u vreme rediteljskih početaka stekao reputaciju za ceo život. Još od CATS & DOGS preko BAD SANTAe, Requa i Ficarra su pokazali da ih zanima prevazilaženje žanrovskih ograničenja, kako na planu uvođenja neočekivanih rešenja iz drugih žanrovskih postavki, tako i po ozbiljnosti pristupa koji je ćesto nadilazio profil projekata na kojima su radili. Kada su režirali I LOVE YOU PHILLIP MORRIS bilo je jasno da kao reditelji prevazilaze tipična očekivanja koja bi u tom domenu imali kad imamo posla sa scenaristima, kako u vizuelnom smislu tako i na planu samog postupka – ovaj film je istovremeno uspeo da bude i pitak i duhovit kao najisplativiji Jim Carrey-vehicle a po drastičnosti svog odmaka od njegovog family-friendly miljea spadao je u najradikalnije među njegovim Oscar-bait filmovima. U tom smislu, I LOVE YOU PHILLIP MORRIS ostao je kultni upečatljivi naslov, sa određenim komercijalnim uspehom van SAD i visokom reputacijom kod kritike.

CRAZY STUPID LOVE Requa i Ficarra snimaju po scenariju Dan Fogelmana koji je najveće uspehe imao kao Disney/Pixarov scenarista, ali nije imao sreće sa pokušajem high concept igrane komedije FRED CLAUS koji su radili u tom trenutku najaktuelniji hitmejkeri David Dobkin i Vince Vaughn. Sa CRAZY STUPID LOVE, međutim, Fogelman uspeva da opravda svoju poziciju bogato plaćenog scenariste i prilično visoku cenu od dva i po miliona dolara koliko mu je Warner platio za ovaj scenario.

CRAZY STUPID LOVE je s pravom poneo etiketu novog LOVE ACTUALLY ili HE'S JUST NOT THAT INTO YOU koji stoje kao svetao primer savremenih romcoma. Međutim, dodao bih da je u ponečemu i bolji od ova dva naslova – doduše ja sam kao veliki fan Richarda Curtisa uvek i bio rezervisan prema značaju LOVE ACTUALLY i od takvih ensemble radova ovog pisca i reditelja više cenim THE BOAT THAT ROCKED. HE'S JUST NOT THAT INTO YOU je u stvari na istoj liniji pošto iza osnovnih efekata romcoma pokušava da funkcioniše kao priča o karakterima i prirodi njihovih odnosa. CRAZY STUPID LOVE na to sve dodaje svoj meta-filmski, žanrovski, komentar i dozu nestašnog često crnog humora.

Uprkos uplivu intenzivnijeg humora i dekonstrukcije žanra, CRAZY STUPID LOVE ne ispoušta ni svoj melodramski osnov ni odnos prema karakterima tako da se automatski kvalifikuje za mesto u nizu savremenih romcima koji ne prestaju da budu priče o konkretnim likovima.

Kvalitetan i skup scenario privukao je izvanrednu glumačku podelu, sa zvezdama na svim pozicijama,  a činjenica da je Steve Carrell glavni junak ne znači da je on i glavni činilac u ovom ansamblu. Najveću korist od ovog filma imaće Ryan Gosling i Emma Stone koji su ionako obeležili 2011. godinu svojim neverovatnim usponom dok su Julianne Moore i Marisa Tomei samo potvrdile svoj već izboren status.

Requa i Ficarra u rediteljskom postupku vrše proboj na dva fronta – prvo u radu sa glumcima vešto balansiraju između žanrovskih konvencija, nemaju problem ni sa tim da imaju grandiozni Richard Curtis – scene sa kišom ni preiskrenu javnu izjavu ljubavi jednog od glavnih junaka, ali imaju i čisto humorističke scene i situacije koje su igrane sa punim ubeđenjem a uprkos ovoj mešavini sve deluje vrlo konzistentno ako imamo u vidu da su od učesnika zahtevani različti pristupi u pojedinim scenama.

Isto tako u vizuelnom smislu, CRAZY STUPID LOVE je vrlo estetizovan ako imamo u vidu da je reč o vrsti filma za koju je presudnije šta glumci rade u kadru nego kako taj kadar izgleda. Direktor fotografije Andrew Dunn u njihovom filmu pokazuje da je kada radi sa ambicioznim rediteljima više od pukog egzekutora, kako se pokazao u većini projekata koji nisu bili britanske projekti. Njegov dar nikada nije ni bilo sporno, on je između ostalog slikao Campbellovu mini seriju EDGE OF DARKNESS koja sapda među najatmosferičnije serije u istoriji televizije ali u Holivudu nije imao značajnije domete.

Prevazilaženjem očekivanja u većini aspekata ali bez gubitka fokusa na osnovnu repertoarsku funkciju svog filma, Requa i Ficarra potpisuju jedan od retkih holivudskih filmova koji je uspeo da u priličnoj meri zatekne kritiku i da ih natera da preispitaju svoj inače rutinerski odnos prema romantičnoj komediji kao žanru kome se ne prilazi previše ozbiljno. Stoga, Requa i Ficarra uspevaju da se izdvoje kao autori unutar žanra u kome su se više izdvajali glumci i scenaristi nego reditelji.

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Warner Bros. Pictures has acquired the film rights to Don Winslow's bestselling novel "Satori" with plans to turn it into a Leonardo DiCaprio-led feature says Deadline.

DiCaprio will play Nicholai Hel, a Westerner raised in Japan by a Japanese general and martial arts expert.

The student repays him by murdering his mentor as an act of devotion (sparing him disgrace). Kept in a Tokyo prison for three years, the CIA releases him in return for assassinating the Soviet commissioner to China with the help of a beautiful French woman he falls in love with.

Betrayed by his the Americans, he soon makes his way through early 1950s Vietnam hunted by American, Chinese, Russian and French intelligence agencies as well as a Corsican mob and Vietnamese criminal syndicate.

Shane Salerno will write the script with Winslow who also penned the novel "Savages" which Oliver Stone is adapting as his next film. John Lesher and Jennifer Killoran are producing.

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Zach Gilford (TV's "Friday Night Lights") will star opposite Arnold Schwarzenegger in Kim Jee-woon's "The Last Stand" which is shooting shortly in New Mexico.

Gilford will play the young small-town cop who works for Schwarzenegger's sheriff character and both are all that stands between a drug cartel and the Mexican border after the kingpin escapes from a U.S. prison and races home. [Source: Deadline]

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Pogledao sam LAHKO NOČ, GOSPODIČNA Metoda Peveca. Reč je o prilično tankoj melodrami o ženu koju izneveravaju muškarci koja uprkos svojoj nedorečenosti i slabostima na nivou priče i idejnosti ipak pokazuje visok opšti nivo slovenačke kinematografije. Naime, u Sloveniji još uvek nije izgubljen odnos prema filmu kao jednom skupom sportu koji podrazumeva određenu tehničku usavršenost ili barem ispravnost.

Tako i kod Peveca, iako je film u suštini prilično šupalj i tanak, u čisto tehničkim aspektima ovo odaje utisak ozbiljne kinematografije. Dok se uvek možemo sporiti oko toga da li je uvođenje digitalne tehnike u srpski film i hiperprodukcija proistekla iz toga u dovoljnoj meri rezultirala kvalitetom (nekim kvalitetom svakako jeste) sasvim sigurno je rezultirala ozbiljnim srozavanjem svih standarda i u krajnjoj liniji gubitkom aure koju je kinematografija imala.

Iz perioda u kome se kao ključno pitanje postavljalo šta sve iz nekog razloga nije snimljeno, odjednom smo došli u situaciju da se pitamo šta sve jeste snimljeno.

Iako Pevecov film u određenom smislu spada u naslove koji svakako nisu bili neophodni ni slovenačkoj kinematografiji ni njemu samom kao reditelju, nema nikakvog spora da barem tehnička ispravnost i elementarni zanatski nivo ne vređaju publiku.

Otud, ako imamo u vidu šta nam sve priređuje "regionalna" kinematorafija, LAHKO NOČ ima neke vrline koje se inače podrazumevaju ali se kod nas moraju istaći.

Isto tako, šteta je što jedna u osnovi jednostavna i pitka (malo)građanska melodrama kao što je ova nije nešto ubedljivije i interesantnije urađena jer u istoriji jugoslovenskog filma a naročito na savremenoj sceni nedostaju tako čisto postavljeni žanrovski filmovi.

Inače, uz celovečerni IZLET i još jedan kratki film, LAHKO NOČ predstavlja treći film na ovogodišnjem FSF koji se dotiče teme raka dojke. Ne znam da li je to neka goruća društvena tema ili moda, niti je to iko od Slovenaca uspeo da mi objasni, ali ova bolest se ove godine često koristi kao detalj za opisivanje karaktera.

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Legendary screenwriter Robert Towne ("Chinatown," "The Firm") has been hired to pen "The Battle of Britain" for GK Films says Reuters.

The story will deal with the famed WW2 campaign in 1940 between the Royal Air Force and German Luftwaffe for control of British airspace. It's still considered the largest and most sustained aerial battle in history, and was a crucial turning point in the war.

Graham King and Tim Headington will produce. Laurence Olivier, Trevor Howard, Michael Caine, Christopher Plummer and Robert Shaw all starred in the 1969 film of the same name about the battle.

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Prvi trejler za film Dinka Tucakovića DOKTOR REJ I ĐAVOLI

http://dobanevinosti.blogspot.com/2011/10/doktor-rej-i-avoli-trejler.html

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Ovoj trejler dosta obećava. Videćemo koliko film deliveruje. Kad je premijera?

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Mislim da ce biti na FESTu 2012. Pred smak sveta.

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BEST PICTURE
Frontrunners
War Horse (Disney, 12/25, TBA, teaser)
J. Edgar (Warner Brothers, 11/11, R, trailer)
Extremely Loud and Incredibly Close (Warner Brothers, 12/25, TBA, trailer)
The Artist (The Weinstein Company, 11/23, TBA, trailer)
Moneyball (Columbia, 9/23, TBA, trailer)
Midnight in Paris (Sony Pictures Classics, 5/20, PG-13, trailer)
The Help (Disney, 8/12, PG-13, trailer)
The Descendants (Fox Searchlight, 11/23, R, trailer)
The Ides of March (Sony, 10/14, TBA, trailer)
Tinker, Tailor, Soldier, Spy (Focus Features, 12/9, TBA, trailer)
Major Threats
The Girl With the Dragon Tattoo (Sony, 12/21, TBA, trailer)
The Iron Lady (The Weinstein Company, 12/21, TBA, teaser)
The Tree of Life (Fox Searchlight, 5/27, PG-13, trailer)
My Week With Marilyn (The Weinstein Company, 11/4, TBA, TBA)
Carnage (Sony Pictures Classics, 12/16, R, trailer)
50/50 (Summit, 9/30, R, trailer)
Like Crazy (Paramount Vantage, 10/28, PG-13, trailer)
Harry Potter and the Deathly Hallows -- Part 2 (Warner Brothers, 7/15, PG-13, trailer)
We Bought a Zoo (20th Century Fox, 12/23, TBA, trailer)
Possibilities
The Adventures of Tintin (Paramount, 12/21, TBA, trailer)
Hugo (Paramount, 11/23, TBA, trailer)
Young Adult (Paramount, 12/9, TBA, TBA)
A Dangerous Method (Sony Pictures Classics, 11/23, TBA, trailer)
The Lady (Cohen Media Group, 12/?, TBA, trailer)
Coriolanus (The Weinstein Company, 12/2, TBA, trailer)
The Way (Producers Distribution Agency, 10/7, TBA, trailer)
Super 8 (Paramount, 6/10, PG-13, trailer)
In the Land of Blood and Honey (FilmDistrict, 12/23, TBA, TBA)
Still Seeking Domestic Distribution
Take This Waltz

BEST DIRECTOR
Frontrunners
Steven Spielberg (War Horse)
Clint Eastwood (J. Edgar)
Stephen Daldry (Extremely Loud and Incredibly Close)
Michel Hazanavicius (The Artist)
Woody Allen (Midnight in Paris)
Major Threats
Bennett Miller (Moneyball)
Alexander Payne (The Descendants)
George Clooney (The Ides of March)
David Fincher (The Girl with the Dragon Tattoo)
Roman Polanski (Carnage)
Tate Taylor (The Help)
Tomas Alfredson (Tinker, Tailor, Soldier, Spy)
Terrence Malick (The Tree of Life)
Phyllida Lloyd (The Iron Lady)
Simon Curtis (My Week With Marilyn)
Jonathan Levine (50/50)
Drake Doremus (Like Crazy)
Possibilities
Steven Spielberg (The Adventures of Tintin)
Martin Scorsese (Hugo)
Cameron Crowe (We Bought a Zoo)
Jason Reitman (Young Adult)
David Cronenberg (A Dangerous Method)
Luc Besson (The Lady)
Ralph Fiennes (Coriolanus)
Emilio Estevez (The Way)
J.J. Abrams (Super
Angelina Jolie (In the Land of Blood and Honey)
David Yates (Harry Potter and the Deathly Hallows -- Part 2)
Still Seeking Domestic Distribution
Sarah Polley (Take This Waltz)

BEST ACTOR
Frontrunners
Brad Pitt (Moneyball)
Leonardo DiCaprio (J. Edgar)
George Clooney (The Descendants)
Jean Dujardin (The Artist)
Ryan Gosling (The Ides of March)
Major Threats
Michael Fassbender (Shame)
Thomas Horn (Extremely Loud and Incredibly Close)
Gary Oldman (Tinker, Tailor, Soldier, Spy)
Christoph Waltz (Carnage)
John C. Reilly (Carnage)
Joseph Gordon-Levitt (50/50)
Michael Shannon (Take Shelter)
Woody Harrelson (Rampart)
Anton Yelchin (Like Crazy)
Ryan Gosling (Drive)
Owen Wilson (Midnight in Paris)
Daniel Craig (The Girl with the Dragon Tattoo)
Possibilities
Matt Damon (We Bought a Zoo)
Jeremy Irvine (War Horse)
Demian Bichir (A Better Life)
Rhys Ifans (Anonymous)
Ralph Fiennes (Coriolanus)
Johnny Depp (The Rum Diary)
Michael Fassbender (A Dangerous Method)
Paul Giamatti (Win Win)
Martin Sheen (The Way)
Sam Shepard (Blackthorn)
Antonio Banderas (The Skin I Live In)
Tom Hardy (Warrior)
Sean Penn (This Must Be the Place)
Still Seeking Domestic Distribution
Christopher Plummer (Barrymore)

BEST ACTRESS
Frontrunners
Viola Davis (The Help)
Meryl Streep (The Iron Lady)
Glenn Close (Albert Nobbs)
Michelle Williams (My Week with Marilyn)
Rooney Mara (The Girl with the Dragon Tattoo)
Major Threats
Felicity Jones (Like Crazy)
Elizabeth Olsen (Martha Marcy May Marlene)
Keira Knightley (A Dangerous Method)
Jodie Foster (Carnage)
Kate Winslet (Carnage)
Charlize Theron (Young Adult)
Kirsten Dunst (Melancholia)
Tilda Swinton (We Need to Talk About Kevin)
Possibilities
Mia Wasikowska (Jane Eyre)
Michelle Yeoh (The Lady)
Ellen Barkin (Another Happy Day)
Adepero Oduye (Pariah)
Rachel Weisz (The Whistleblower)
Vera Farmiga (Higher Ground)
Saoirse Ronan (Hanna)
Still Seeking Domestic Distribution
Michelle Williams (Take This Waltz)

BEST SUPPORTING ACTOR
Frontrunners
Christopher Plummer (Beginners)
Kenneth Branagh (My Week with Marilyn)
Max von Sydow (Extremely Loud and Incredibly Close)
George Clooney (The Ides of March)
Jim Broadbent (The Iron Lady)
Major Threats
Albert Brooks (Drive)
Jonah Hill (Moneyball)
Tom Hanks (Extremely Loud and Incredibly Close)
Nick Nolte (Warrior)
Philip Seymour Hoffman (The Ides of March)
Armie Hammer (J. Edgar)
John Hawkes (Martha Marcy May Marlene)
Viggo Mortensen (A Dangerous Method)
Brad Pitt (The Tree of Life)
Possibilities
Andy Serkis (Rise of the Planet of the Apes)
Patton Oswalt (Young Adult)
Thomas Haden Church (We Bought a Zoo)
Jeffrey Wright (Extremely Loud and Incredibly Close)
Ezra Miller (We Need to Talk About Kevin)
Corey Stoll (Midnight in Paris)
Tom Hardy (Tinker Tailor Soldier Spy)
Mark Strong (Tinker Tailor Soldier Spy)
Benedict Cumberbatch (Tinker Tailor Soldier Spy)
Still Seeking Domestic Distribution
Terrence Howard (Winnie)

BEST SUPPORTING ACTRESS
Frontrunners
Berenice Bejo (The Artist)
Vanessa Redgrave (Coriolanus)
Octavia Spencer (The Help)
Judi Dench (My Week with Marilyn)
Evan Rachel Wood (The Ides of March)
Major Threats
Shailene Woodley (The Descendants)
Sandra Bullock (Extremely Loud and Incredibly Close)
Emily Watson (War Horse)
Jessica Chastain (The Help)
Carey Mulligan (Shame)
Janet McTeer (Albert Nobbs)
Naomi Watts (J. Edgar)
Melissa McCarthy (Bridesmaids)
Possibilities
Scarlett Johansson (We Bought a Zoo)
Judi Dench (J. Edgar)
Anna Kendrick (50/50)
Alexandra Roach (The Iron Lady)
Charlotte Gainsbourg (Melancholia)
Charlotte Rampling (Melancholia)
Judy Greer (The Descendants)
Kim Wayans (Pariah)
Still Seeking Domestic Distribution
Judy Davis (The Eye of the Storm)
Charlotte Rampling (The Eye of the Storm)

BEST ADAPTED SCREENPLAY
Frontrunners
Richard Curtis, Lee Hall (War Horse)
Eric Roth (Extremely Loud and Incredibly Close)
Aaron Sorkin, Steven Zaillian (Moneyball)
Tate Taylor (The Help)
Alexander Payne, Nat Faxon, Jim Rash (The Descendants)
Major Threats
George Clooney, Grant Heslov (The Ides of March)
Bridget O'Connor, Peter Straughan (Tinker, Tailor, Soldier, Spy)
Steven Zaillian (The Girl with the Dragon Tattoo)
Roman Polanski (Carnage)
Cameron Crowe, Aline Brosh McKenna (We Bought a Zoo)
Christopher Hampton (A Dangerous Method)
Pedro Almodovar (The Skin I Live In)
Possibilities
John Logan (Hugo)
John Logan (Coriolanus)
Emilio Estevez (The Way)
John Banville, Glenn Close (Albert Nobbs)
James Ellroy, Oren Moverman (Rampart)
Bruce Robinson (The Rum Diary)

BEST ORIGINAL SCREENPLAY
Frontrunners
Dustin Lance Black (J. Edgar)
Michel Hazanavicius (The Artist)
Woody Allen (Midnight in Paris)
Terrence Malick (The Tree of Life)
Abi Morgan (The Iron Lady)
Major Threats
Adrian Hodges (My Week with Marilyn)
Will Reiser (50/50)
Drake Doremus, Ben York Jones (Like Crazy)
Diablo Cody (Young Adult)
Jeff Nichols (Take Shelter)
Sean Durkin (Martha Marcy Mae Marlene)
Asghar Farhadi (A Separation)
Possibilities
Annie Mumolo, Kristen Wiig (Bridesmaids)
Tom McCarthy, Joe Tiboni (Win Win)
Rebecca Frayne (The Lady)
J.J. Abrams (Super
Lars von Trier (Melancholia)
Dee Rees (Pariah)
Mike Mills (Beginners)
Angelina Jolie (In the Land of Blood and Honey)
Still Seeking Domestic Distribution
Sarah Polley (Take This Waltz)

BEST ANIMATED FILM (FEATURE)
Frontrunners
Rango (Paramount, 3/4, PG, trailer)
The Adventures of Tintin (Paramount, 12/21, TBA, trailer)
Happy Feet 2 (Warner Brothers, 11/18, TBA, TBA, trailer)
Cars 2 (Disney, 6/24, TBA, trailer)
Arthur Christmas (Sony, 11/23, TBA, trailer)
Major Threats
Puss in Boots (DreamWorks, 11/4, TBA, trailer)
Rio (20th Century Fox, 4/15, G, trailer)
Alvin and the Chipmunks: Chip-Wrecked (20th Century Fox, 12/11, TBA, TBA)
Winnie the Pooh (Disney, 7/15, G, trailer)
Possibilities
Kung Fu Panda 2 (DreamWorks, 5/26, PG, trailer)
The Smurfs (Sony, 7/29, TBA, trailer)
The Lion of Judah (Animated Family Films, 6/3, TBA, trailer)
Still Seeking Domestic Distribution
The Dreaming Machine
The Rabbi's Cat
Tales of the Night

BEST DOCUMENTARY FILM (FEATURE)
Frontrunners
The Interrupters (The Cinema Guild, 7/29, TBA, trailer)
Project Nim (Roadside Attractions, 7/8, PG-13, trailer)
Buck (IFC Films, 6/17, PG, trailer)
Senna (Producers Distribution Agency, 8/12, PG-13, trailer)
If a Tree Falls (Oscilloscope, 6/22, TBA, trailer)
Major Threats
Hell and Back Again (Docurama Films, 10/5, TBA, trailer)
Cave of Forgotten Dreams (IFC Films, 4/29, G, trailer)
Into the Abyss (Sundance Selects, 11/11, TBA, TBA)
Koran by Heart (HBO Documentary Films, TBA, TBA, trailer)
Page One: Inside the New York Times (Magnolia, 6/24, TBA, trailer)
Tabloid (Sundance Selects, 7/15, R, trailer)
Being Elmo: A Puppeteer's Journey (Submarine Deluxe, TBA, trailer)
Magic Trip (Magnolia, 8/5, TBA, trailer)
Bill Cunningham New York (Zeitgeist Films, 3/16, TBA, trailer)
Possibilities
The Black Power Mixtape 1967-1975 (Sundance Selects, 9/9, TBA, trailer)
Pearl Jam Twenty (Abramorama, 9/20, R, trailer)
Bobby Fischer Against the World (HBO Documentary Films, TBA, TBA, TBA)
The Whale (Paladin, TBA, TBA, TBA)
The Bully Project (The Weinstein Company, TBA, TBA, trailer)
Revenge of the Electric Car (Westmidwest Productions, TBA, TBA, trailer)
The Greatest Movie Ever Sold (Sony Pictures Classics, 4/22, PG-13, trailer)
African Cats (Disney, 4/22, G, trailer)
Life in a Day (National Geographic, 7/29, PG-13, trailer)
Still Seeking Domestic Distribution
Bombay Beach
Footnote

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[SIMERIJANAC]

Za to je bilo isto onoliko šanse kao i da deda Mićun zaigra pornićara u onom studentskom filmu.
Osvetniče,da li negde na netu može da se pogleda Zapečen jer u onom RTS ovom dokumentarcu videh samo insert .

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Nažalost, ni ja ga nemam na DVDu ali se već dugo kanim da ga nabavim. Aj sad si me podsetio da ga malo pojurim. Koliko se sećam, to je bio simpa film...

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Pogledao sam izuzetno zanimljiv TV film DOSIJE 128 Petra Cvejića. Reč je o TV filmu iz 1998. godine i realizacija je na prepoznatljivom nivou poznog RTSa, dakle, nije naročito dobra, ali sam film je vrlo dobro napisan i glumljen. Snimljen je po scenariju Velimira Lukića koji je poznat dramski pisac, i ovde se vrlo dobro snašao u priči o komunistima i disidentima koja je vrlo direktno vezana za poznate događaje iz beogradskih disidentskih krugova. Naravno, neki detalji su izmenjeni ali čini mi se da mali broj gledalaca nije prepoznao o kom se slučaju govori.

Jasmina Avramović odlično igra osramoćenu ministarku u kandžama Službe koja pokušava da prinudi da potpiše dokument kojim će okriviti sebe i posredno svog još moćnijeg supruga. Ovo je zahtevna ulofga, sa dosta transformacija i Jasmina Avramović ju je izvanredno uradila. Ostatak ekipe je isto na vrlo solidnom nivou ali ovo je sve generalno njn šou.

U dramaturškom smislu, jedino što nije do kraja jasno jeste sam plot koji pokušava da sprovede Služba to jest koji su to tačno njihovi interesi. Međutim, gledano iz vizure današnjeg ideološkog mejnstrima, DOSIJE 128 je jedna dosta slikovita predstava tog perioda i odnosa između vlasti i disidenata.

Šteta je što ova ista priča nije realizovana kao film. Pošto je slabo verovatno da će biti rimejkovana, definitivno je treba skinuti sa Interneta i pogledati u ovom izdanju.

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Pogledao sam BEAUTIFUL BOY Shawn Kua, mlodramu o gubitku i krivici u kojoj glavne uloge igraju Maria Bello i Michael Sheen. Iako nema zbora da je Sheen veliki glumac, činjenica je da kada ne igra likove opterećene istorijskom reputacijom pokazuje izvesnu prazninu koju ne uspeva do kraja da nadogradi. U tom smislu, Maria Bello nudi zaokruženiji lik što verovatno proizilazi i iz toga što ona igrajući suprugu ima i širi asortiman manifestacija patnje.

BEAUTIFUL BOY je priča o bračnom paru pred razvodom čiji sin jednog dana izvrši samoubistvo pošto je prethodno pobio par desetina kolega na koledžu. Ovako težak razvoj događaja ne biva olakšan time što pored gubitka sina, krivice zbog onoga što je on uradio, porodica odjednom biva pritisnuta medijskom pažnjom koja je naravno vrlo često neumesna, agresivna i osvetoljubiva i to njihov odnos dovodi do paradoksa - od ljudi pred razvodom oni postaju upućeni jedno na drugo.

Iako su okruženi sa nekoliko soildnih epizodnih glumaca, u centru pažnje su Maria Bello i Michael Sheen i uspevaju vrlo ubedljivo da predstave stanje svojih likova i da bez prenaglašenih melodramskih preokreta ispričaju i samu priču i dovedu je do stanja zaokruženosti. U tom smislu, ovo bi bio dobar prototip onoga što naši reditelji konstantno žele da postignu.

Naročitop treba obratiti pažnju na vrlo atraktivnu fotografiju koju je uradio Michael Fimognari koja je istovremeno doprinela dinamičnosti pripovedanja ali bez agresije, sa ubedljivim prikazom ambijenata u koje je priča smeštena.

BEAUTIFUL BOY nije film koji će mnogo postići pre svega zato što sličnih filmova već ima a to što je u okvirima te vrsta filma vrlo solidan očigledno nije dovoljno.

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[SIMERIJANAC]

Nažalost, ni ja ga nemam na DVDu ali se već dugo kanim da ga nabavim. Aj sad si me podsetio da ga malo pojurim. Koliko se sećam, to je bio simpa film...

Pa kapiram da ne može da bude loš film sa Rašom Bukvićem i ovakvom tematikom,a sve začinjeno Sonjom i Majom.Meni to ima potencijala i za pravi veliki film od sat i po.
Nego,pošto sam odgledao dokumentarce o srpskim studentskim filmovima,probao sam da te filmove nađem na Youtubeu i netu, ali slaba vajda(osim ovoga zainteresovao me i mali Đukelić).Ne znam u čemu je fazon,da li se ti ljudi koji su ih pravili kao diplomske radove toga sad stide ili šta?
Nešto sam uspeo da uhvatim u onom RTS ovom cilklusu(Maju Miloš,ovaj crno beli sa Nedom Arnerić, i neki sa nekim vojnicima na frontu), i ima tu sasvim finih ideja iako je realizacija očekivano siromašna i još uvek početnička.

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Matthew Vaughn (X-Men: First Class) is not planning to return for the "Kick-Ass" sequel, but he just got involved with another Mark Millar comic-book, called "Superior." According to Millar, Vaughn just acquired movie rights to the property, which is described as "Big" meets "Superman."

"I have always enjoyed working with Mark and his latest exciting project 'Superior' is something that we are very much looking forward to making," said Vaughn.

The story revolves around a young boy living with multiple sclerosis who's granted a magic wish. He asks to be transformed into his favorite big screen action hero and uses his new super-powers to right the real world's wrongs. Whereas most superheroes fight criminals and stop bank robberies, this little boy uses his abilities to end the war in the Middle-East, feed the starving, rescue people from natural disasters and anything else the public wants. But have these incredible powers and worldwide adulation come at a price?

About a year ago, Millar revealed that Leonardo DiCaprio signed on to star in the film. No word if something changed.

Read more: http://www.worstpreviews.com/headline.php?id=23016&count=0#ixzz1a6cqcXuX

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Mislim da Đukelićev ima negde na netu, čak sam ja postovao link na ZS.

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Michael Raymond-James ("True Blood, "Terriers") has joined the cast of "One Shot" at Paramount Pictures and Skydance Productions says The Hollywood Reporter.

Based on the 2005 Lee Child novel, Tom Cruise plays ex-Army cop Jack Reacher who gets sucked into the mystery surrounding the arrest of a sniper accused of killing five people in a shooting.

Christopher McQuarrie will direct from a script he adapted. Werner Herzog, Rosamund Pike, David Oyelowo and Richard Jenkins also star in the film which begins shooting this month in Pittsburgh.

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MOJA LUDA GLAVA Vuka Vuča je delom jugoslovenski spoof James Bonda a delom odgovor na američke krimiće koji će upravo u tom periodu doživeti svoj vrhunac sa DIRTY HARRYjem. Međutim, po svom mačizmu i zgražavanju nad dekadencijom, MOJA LUDA GLAVA više podseća na COOGAN'S BLUFF a u određenim deonicama kada Vuče pokušava da se skloni od tipičnog žanrovskog rediteljskog postupka i ubaci poneki arty detalj podseća i na britanske avangardnije krimi i špijunske filmove.

Ako imamo u vidu da se MOJA LUDA GLAVA pojavljuje u jugoslovenskom filmu u sred nekih drugih potpuno drugačijih kinematografskih tokova onda je rezultat koji je ekipa postigla iznenađujuće dobar. Ipak su u domenu žanrovskog i repertoarskog filma tehnička usavršenost i tradicija bitni aduti, a ovde se oni eventualno mogu prepoznati kroz angažman Đorđa Nikolića koji je meni uz Branka Ivatovića jedan od najpotcenjenijih DPjeva u istoriji naše kinematografije. Nikolić je najbolje vladao snimanjem akcionih scena i u pojedinim filmovima je nudio izuzetno moderna snimateljska rešenja. Drugi je pomoćnik režije Časlav Damjanović. Jako je teško procenjivati akcione scene u filmu koji je desetak minuta kraći u stanju u kome sam ga sada gledao nego što bi trebalo da bude i priustni su razni diskontinuiteti ali MOJA LUDA GLAVA nije ništa više campy od većine stranih filmova iz tog vremena. Štaviše, mislim da je naročito Nikolić doprineo vrlo dobroj atmosferi.

Bata Živojinović je naravno dovoljno samouveren da bez ikakvih dilema bude ultimativni jugoslovenski mačo, neodoljiv ženama koliko Bond i blaxploitation heroji, a sticajem okolnosti primoran da rešava slučajeve u kojima se kriminalci kriju iza legalnih poslova ko što su moda i manekenstvo. Paja Vuisić igra plmnitog ballbuster šefa koji je našao Batinog junaka dok je bio maloletni prestupnik i napravio od njega čoveka. Jedan od osnovnih problema našeg policijskog filma bilo je i ostalo to što šefovi nikada nisu pravi ballbusteri već uvek imaju ne samo humanu dimenziju već i visok stepen kompetencije i razumevanja za svoje inspektore.

Scenarista M.M. Lango je potpisao Mitrovićevo UBISTVO... i ovde se takođe sasvim solidno snalazi, donoseći dosta svoje novinarske dovitljivosti u scenario, i nudi nekoliko zaista simpatičnih detalja. Pa ipak, ako se neko osim samog bate izdvaja u ovom filmu to je Nikolić koji je čini mi se najzaslužniji za celokupan funk ovog filma.

Bojan Adamič je pisao muziku a glavni junak kao Bond i njemu slični ima i svoju pesmu koju peva Nada Knežević. Bata će kasnije opet imati takvu temu u filmu HALO TAXI koju je pevala Zana Nimani.

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NADA KNEŽEVIĆ - PESMA IZ FILMA MOJA LUDA GLAVA

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Bata Živojinović je naravno dovoljno samouveren da bez ikakvih dilema bude ultimativni jugoslovenski mačo, neodoljiv ženama koliko Bond i blaxploitation heroji, a sticajem okolnosti primoran da rešava slučajeve u kojima se kriminalci kriju iza legalnih poslova ko što su moda i manekenstvo.

a u NOŽU krimosa ima i među narodnjacima. Bata razvejava mrežu od Marijane Mateus do Saše Popovića!

[Franz Xaver von Baader]

u Medenom mjesecu je kriminalni milje povezan sa modom, a ako se dobro sjećam butik se pojavljuje i u Diplomi za smrt.