The Crippled Corner

[Meho Krljic]

Will je kao i obično u pravu. Cripple je neobjašnjivo oštar prema Avendžersima a neobjašnjivo blag prema Spajdermenu.

[crippled_avenger]

Cripple je hendikepiran time što ne vidi snažnu dramu u detaljima koji čine Marvelov univerzum. Ja verujem da se tebi i Willu hromozomi izmene od snage prizora kada Thor namigne Hulku i sl. ali to nije film. Odnosno, vama se to iz nekih vanfilmskih elemenata čini kao film. Prema SPIDER-MANu sam pokazao više razumevanja ne toliko što je ovaj film pre svega uspeo, koliko zbog toga što mislim da je na nivou nekih odluka i odabranih elemenata imao/ima potencijala da se razvije u nešto bolje. Ali, u slučaju AVENGERSa nije u pitanju kvalitet per se jer je svaki film koji ima nekakav integritet na nivou priče i likova bolji od AVENGERSa koji se jedino može gledati i razumeti ako si pogledao sve ostale filmove iz recentne Marvelove produkcije a potpuni efekat ima ako si do detalja upoznat sa Marvelovim univerzumom. Dobri filmovi ne podrazumevaju predznanje.

Ono što mene strašno nervira i kod mnogih nastavaka izvorno filmskih priča jeste to što se ti filmovi uopšte ne bi razumeli da gledaoci nisu overili original. Naravno, postoje i dobro koncpiriani nastavci koji mogu da stoje samostalno.

[Meho Krljic]

Da, ja sam naravno u određenom smislu kondicioniran da mi se Avengers dopada, ali imaj na umu da ja nisam gledao ni Thora ni Captain America, dakle, Avengers sam bez problema pratio samo na osnovu stripova. Moja žena koja nije ni čitala stripove ni gledala filmove (gledala je samo Iron man 1 i 2) je tvrdila da joj je u Avengers sve bilo dovoljno jasno... Ali osećam tvoj bol. I evo mojih misli o The Amazing Spider-man, ukoliko ikog interesuju.

[crippled_avenger]

Jedna od definicija stripovske stilizacije je da ti na osnovu izgleda junaka bude odmah jasno sve o njemu. U AVENGERSu je teško da ti nešto ne bude jasno pošto su ljudi bukvalno obukli svoje osobine u formi kostima. Nije pitanje jasnoće u elementarnom smislu, sposobnosti da se prati priča, već filmske priče na njenom dijalektičkom nivou, u AVENGERSu nema prave transformacije, nema sukoba, nema suštinskog problema, nema čak ni balansa između sila koje se sukobe - postoji samo slikovnica za neki sukob koji se odigrao van ekrana.

[crippled_avenger]

Nego, Mehmete, da li se strah da DARK KNIGHT RISES ne prevaziđe AVENGERSe na blagajnama može vezati za ovu neprijatnost na projekciji u Denveru?

[Джон Рейнольдс]

Ма припрема се велики рат против Ирана, а било би провидно да опет руше неке зграде и буше Пентагон.

Него, јел виде ти овог издајника, хтео да руши споменике и статуе?

Pyongyang, July 19 (KCNA) -- Jon Yong Chol, defector to south Korea from the north, was interviewed by reporters at the People's Palace of Culture on Thursday. He was arrested as he was trying to perpetrate hideous crime of destroying statues and monuments in the DPRK at the instructions of the U.S. and south Korean intelligence agencies.

Present at the interview were reporters of DPRK and the General Association of Korean Residents in Japan and Chinese, Russian, U.S. and Japanese reporters.

Overseas compatriots took part in the interview as observers.

Jon Yong Chol spoke first. He lived in Songrim-dong No. 2, Songphyong District, Chongjin City of North Hamgyong Province before defecting to south Korea and joining in the moves for destroying monuments of the DPRK by the U.S. and south Korean intelligence agency.

Jon said that he is an unpardonable criminal as he betrayed the motherland and took the criminal path. But he requested for a press conference thinking that he could not die before indicting the south Korean puppet regime for its heinous terrorist plot, he said, and went on:

Finding it hard to overcome temporary difficulties I had been engaged in illegal trading, broking, etc. I received money from a woman and helped her cross the border. Fear of punishment following its disclosure, I fled to China on April 24, 2010.

Wandering here and there I was tempted by an agent of the south Korean Intelligence Service (IS) surnamed Pak and gave him information about the inner situation of the DPRK several times. Guided by him, I went to south Korea. After going through investigation by IS agents and "education" at "Hanawon" I could live in Thoegye-dong, Chunchon City in Kangwon Province of south Korea from March last year.

Referring to the whole story about the course by which he received a terrorist mission from IS agents, Jon Yong Chol went on:

On around November 8 last year when I was frivoling time away without any job, I happened to meet Kim Song Min, who introduced him as representative of the anti-DPRK plot-breeding organization "Front for Liberation of North Korean People" in Seoul with the help of Ri Su Bok whom I got known at "Hanawon."

Kim Song Min is a bad man who defected to south Korea after committing crimes.

He formed a "statue demolition society" in the above-said front. He said that the U.S. and south Korean "government" authorities actively back the "society" with deep interest in it, and persistently persuaded me to join it if I want to make a huge amount of money.

A few days later, Ko Tong Gyun who looked around 40 years old and a man surnamed Sim who looked about 50 called on me saying that they were sent by Kim Song Min.

They said that they provided Kim Song Min with a lot of money for the formation of the "statue demolition society" and terrorist acts but every attempt failed, adding that I seemed to be most suitable to do the job.

They were agents of the south Korean intelligence body who manipulate Kim Song Min behind the scene.

Early in December last year, a "section chief" reminded me of the operation of the "statue demolition society" and briefed me on statue-blowing program and explosive device which was already in preparation.

According to it, the explosive device (launcher) is latest equipment which looked like a thermos bottle capable of destroying at the target within 150-300 meters.

For 12 hours since the target was leveled, it will be in automatic state. When the man who set it switches it on by remote controller within 4-6 kilometers, it will be automatically launched to blow the target.

They told me about the process of the "undertaking".

When the manufacture of explosive device was completed, the user first was to go to the area of China bordering the DPRK and be on standby after casing the target. The explosive device is a terrorist weapon under worldwide control. It consists of three parts. The three parts were to be smuggled separately through different routes and assembled on the spot before undergoing performance test. Finally it was to be handed over to the man who was to carry out the "undertaking". The terrorist would go to the DPRK via secret route and set the device ready to go off. When the exploding time is set on the spot, a satellite would photograph the area while staying in the sky above the area for 30 minutes or an hour before the explosion.

Jon Yong Chol then elaborated on how the south Korean puppet regime drew up the operation and tried to put it into practice.

At about 8:30 a.m. on December 21 last year, the "section chief" and two agents again called on me to give me the operation program they had worked out, Jon said, adding:

According to it, I was to get disguised as smuggler and prepare two same boxes which looked like the box of personal belongings. I was to give one box with bribes in it to a smuggler who opened up the secret border path and carry another one containing the launcher to my mother's, to stave off his suspicion.

I was to go up to the rooftop of an apartment before the statue and set the explosive device under the roof and then drop in at my mother's house. There I was to give a mobile phone containing the remote controller to my mother and request her to press the button of the mobile phone (button of remote controller) to call me if there is no news from me until 7 o'clock in the morning. Then I was to leave the house.

I was to cross the border again to China with the smuggler's help and destroy the statue by pressing the button of another remote controller which I was carrying.

According to the program, if my remote controller does not work for any impairment, my mother was to press the button to call me and then the statue will automatically be destroyed.

Those agents sped to the U.S. saying that the program should finally be approved by the U.S. to get funded.

On December 27, the agents called on me to say that the program was approved by the U.S. and I must succeed this time.

I set February as the month for demolition, but the "undertaking" had to be prolonged to April as the explosive device was not prepared.

They said if April 15 is set as the day of the "undertaking", it would spoil the atmosphere for celebrations of the Day of the Sun which the north had prepared with much effort, spread the rumor and stir up the mindset of the people in the north, adding that it will thus spark off a big furor. They emphasized that the incident should be spread to have been committed by the people in the DPRK not by outside forces.

This was the purpose sought by the U.S. and south Korean puppet regime.

On March 24, 2012, I arrived in Yanji, China by air.

But, the "undertaking" slated for April had to be postponed again because explosive device was not ready.

According to the "undertaking" program slated for 00:00 on July 27, the anniversary of the victory in the Fatherland Liberation War, I went to China again together with Ko Tong Gyun on May 5.

When we were standing by in Yanji, Ko showed me the technical manual of the explosive device which included detailed information about assembling and use of the launcher and the results of explosion, etc.

If succeeded, the explosion will reduce the target to ashes and the remaining parts of the explosive device will also go off. So, no one will be able to know about it except the one who remote-controlled it.

I, together with Ko, made preparations to open the border route as indicated by Sim.

At around 9:30 p.m. on May 13, I went to the opposite shore of Tuman River with Ko and Sim to assure them of the security of the secret border route.

That day Sim told me to wait for future instruction, saying blasting installations would be ready by the end of June.

In the meantime I constantly got in touch with Sim who returned to south Korea and a guy called Son Ki Man who introduced himself as chief of the Defense Security Command of the south Korean army.

This indicates the general mobilization of south Korean intelligence and plot-breeding organs.

As it is not bad to confirm the spot, I crossed the border at around 11:00 p.m. on June 18 and made my way to the border city in the DPRK side. After learning about the statue and its surrounding area, I was going back to the border side when I was arrested at around 2:00 a.m.

However, this did not mean an end to mean plot of the enemies.

Though I was detected and arrested, the U.S. and the south Korean intelligence organs would continue producing more Jon Yong Chol and make desperate efforts to put into practice hideous terrorist plots which they failed this time.

I came to clearly know through my experiences that their reckless acts are just as foolish a daydream as trying to sweep the sea with a broom.

Answering questions raised by journalists, Jon Yong Chol said that the south Korean regime set up "groups" and "organizations" with defectors to the south, other betrayers and wicked hostile elements, kicking up madcap anti-DPRK confrontation rackets.

He named the "Front for Liberation of North Korean People" as a typical example. This is a plot-breeding organization the purpose of which is to undermine the DPRK and "overturn its social system."

Recently, they are hatching a mean plot to infiltrate "special operation team" into the DPRK being assigned the duty of raising "turmoil" in it.

An organization specializes in writing graffiti on public buildings and spreading false rumors at markets in the north.

South Korean conservative media as well as "Radio Free North Korea" and "Radio North Korean Reform" mainly consisting of defectors to the south are being engaged in slandering the DPRK almost every day.

Meanwhile, the regime prods ultra-right conservative organizations and gangsters to hold "lectures", "round-table talks", "seminar" and the like every day to find fault with the DPRK.

Jon cited detailed facts to prove that the U.S. is being deeply involved in the recent hideous political-motivated terrorist case.

He confessed that he not only betrayed his family, home and the country but also perpetrated the high treason of hurting them, being preoccupied with getting money.

Those who get involved in the south Korean regime's terrorist acts and sabotage, being bribed by money, will only meet disgrace and death being branded as traitors, he said, adding: I would like to advise them to take a proper way for the country and people though belatedly.

The U.S. and south Korean regime had better stop imprudent acts, well aware that they can never break the close single-minded unity in the DPRK, no matter how desperately they may try to escalate confrontation with it.

[crippled_avenger]

U igri MERCENARIES 2 jedan od zadataka je da srušiš veliki spomenik Kim Il Sungu a imaš i zadatak da nađeš nekoliko manjih i dobijaš lovu ako ih sve srušiš.

Dakle, nije se sam setio...

[Джон Рейнольдс]

У, јеее... Глобална мултимедијална завера против статуа! А онолико су пљували Талибане кад су порушили Буде! Куда иде овај свет?

[crippled_avenger]

Jasno je da nijedan od lidera nije pravio kult ličnosti zbog toga što je bio infantilan i želeo da ga svi vole već zato što je to bio garant stabilnosti njegove vlasti i sistema. Isto važi i za rušenje tih simbola...

[crippled_avenger]

Pogledao sam HAPPY ACCIDENTS Brad Andersona, i reč je o filmu po kome se nikada ne bi reklo da će ovaj reditelj ubrzo postati tako pretenciozan i dosadan, do tačke kada je to čak prestalo da zanima i ljubitelje pretencioznog i dosadnog filma. HAPPY ACCIDENTS je potpuno drugačiji film, vrlo duhovit, inteligentan i vešto postavljen, dinamičan i vibrantan u svakom smislu.

U osnovi, HAPPY ACCIDENTS je romantična komedija o vezi između žene koju privlače muškarci sa tajnom & problemom i tipa koji tvrdi da je putnik kroz vreme. Međutim, ubrzo, SF i ozbiljnija melodrama počinju da igraju sve veću ulogu u ovoj priči i da je pomeraju u nešto mračnijem pravcu.

Anderson je u HAPPY ACCIDENTSu u najboljem smislu iskoristio mogućnosti koje mu nudi indie film, snimio je priču koja je znatno kompleksnija od onoga što bi mejnstrim mogao da apsorbuje (premda, skoro deceniju kasnije Warner snima TIME TRAVELER'S WIFE koji je mračniji i strukturalno kompleksniji) i sa glumcima kao što su Marisa Tomei i Vincent D'Onofrio dobio je kombinovani kvalitet indie ubedljivosti i mejnstrim komunikativnosti.

Ono što je najznačajniji adut HAPPY ACCIDENTSa je odnos prema SF elementu. Naime, u osnovi svega je bez ikakve sumnje ljubavna priča ali je Anderson ne koristi kao high concept koji bi trebalo da njegov ljubavni film razlikuje od ostalih već je zbilja dosta istražuje i spreman je da ode i na njenu mračnu stranu, čime naravno povećava ulog u osnovnoj priči.

Možda je Schwendtke otišao i dva koraka dalje u TIME TRAVELER'S WIFE gde je sentimentalnost GHOSTa pomešao sa prilično hardkor SFom, i ozbiljnim količinama pesimizma, pa to HAPPY ACCIDENTSu smanjuje na ekskluzivnosti u ovoj grupi filmova, međutim Andersonov rad stoji kao primer svežeg, održivog, i posle čitave decenije relevantnog spoja ljubavnog filma i SFa u jednoj pitkoj formi. Uostalom, Schwendtkeov film je u svom hronomocijskom domenu bio do te mere složen da mu je već samo to bila dovoljna tema za film.

Kraj devedesetih je očigledno bio dosta plodan period za filmove o putovanju kroz vreme, i uspeh TWELVE MONKEYS je izazvao dosta dobru reakciju kod Andersona. Šteta što njegovi kasniji radovi koji su - paradoksalno - bili i priznatiji od HAPPY ACCIDENTS nisu bili na tom nivou.

* * * 1/2 / * * * *

[Meho Krljic]

Nego, Mehmete, da li se strah da DARK KNIGHT RISES ne prevaziđe AVENGERSe na blagajnama može vezati za ovu neprijatnost na projekciji u Denveru?

Ne verujem da bi Marvel otišao toliko daleko. Doduše, prošli put su ubili glumca koji je nosio film, možda je to bilo samo upozorenje...

[lilit]

možda.

stoga sam pristupila ozbiljnim kondicionim pripremama zvanim repriza!

[Джон Рейнольдс]

Leaked! The Dark Knight Rises

Алекса, Србине!!! 

[Albedo 0]

au brate kako je pospremio Batmana!

[pokojni Steva]

Dobar, dobar 

[Nightflier]

Ja imam veliki problem sa Nolanovim Betmenima. Nisu mi čučnuli. Sve do jedan lik mi je antipatičan, sem Oldmanovog Gordona.

[Will-O'-The-Wisp]

Ja imam veliki problem sa Nolanovim Betmenima. Nisu mi čučnuli. Sve do jedan lik mi je antipatičan, sem Oldmanovog Gordona.

QFT.

[Father Jape]

Podseti me Najftlajer da se ponekad susrećem sa tim stavom... sad, meni tu možda nešto promiče.. ali stavom, meni prilično neshvatljivim, gde odnos prema delu u celini, dakle seriji, filmu, romanu, određuje to... koliko su likovi u delu simpatični ili antipatični.

I onda imate izjave poput, ne mogu da gledam seriju, nerviraju me likovi. 0.o

[Meho Krljic]

Ja imam veliki problem sa Nolanovim Betmenima. Nisu mi čučnuli. Sve do jedan lik mi je antipatičan, sem Oldmanovog Gordona.

QFT.

Da. Gordon je jedini koji i meni pje vodu. Ja prosto ne mogu da se načudim koliko američka publika odlepljuje na ovo.

I ne radi se o "simpatičnosti" i "antipatičnosti" u smislu da bih nekom od njih dao ćerku za ženu ili sina za supruga, nego o tome da svi sem Gordona meni deluju "stripovski" u negativnom smislu, uključujući solidnog ali za moj račun preglumljenog Ledžerovog Džokera. Sad ćemo da vidimo kako Tom Hardi brani čast Ujedinjenog Kraljevstva.

[Tex Murphy]

Свакако да би сви ти филмови (мада су ионако одлични) узнапредовали да је БРАГИ Ф. СЦХУТ добио прилику да сарађује на сценарију, али ипак најбољи (и једини прави) Бетмен је Адам Вест, остало су лоше копије.

[Nightflier]

@Đejp

"Antipatičan" je pridev koji sam iskoristio kako ne bih pisao duži post, što me je mrzelo da činim. Očigledno, ko ne plati na mostu, platiće na ćupriji. Moja "antipatičnost" prema tim likovima je pobuđena njihovom jednodimenzionalnošću, neubedljivošću - pa i nezanimljivošću. Niko od njih - a ponajviše ne Ledžerov Džoker - nije me ubedio da predstavlja valjanu ekranizaciju izvornog lika iz stripa. Nolan ni najmanje ne koristi višeslojnost koja odlikuje odreda sve antagoniste u stripovima u Betmenu, a i glavni glumac je bio ubedljiviji u "Ekvilibrijumu", recimo, nego u ta prva dva svoja "Betmena".

Meni nije jasna tvoja primedba da ti nije jasno zašto neko ne može da gleda seriju zato što mu se ne dopadaju likovi. Pa zbog čega bih je gledao - scenografije? U slučaju o kojem je reč, meni se nikako ne dopada kako su likovi protumačeni, niti mi se dopada ekstreman otklon od stripovskog izvornika u scenografiji, kada smo je se već dotakli. Taj otklon je prisutan u tolikoj meri da je potpuno neprirodno to što Betmen nosi plašt, recimo. Nolanov "Betmen" je možda prikladniji nekakvom mutantu između standardnog Betmena i Betmena Bejond. Ukratko, čini mi se da ovaj modernizovani Betmen nema dušu.

[Usul]

али ипак најбољи (и једини прави) Бетмен је Адам Вест, остало су лоше копије.

[Will-O'-The-Wisp]

ako se radi o maču, možeš mene gratis da unajmiš, al ako su mačketine u pitanju, ništa od te rabote.

Lilit draga, maca kao macola.

Krip druže, si gledao ove Francuze: http://www.imdb.com/title/tt0477507/ ?

[Tex Murphy]

Ах, ево га још један јеретик који негира Адама Веста. Срећом, ајкула-аргумент то рјешава без проблема.

Batman - Shark Attack

[Father Jape]

@Najtflajer - da, pa i pomislio sam da ti misliš to na onaj način koji je Meho spomenuo. To je drugo. Mislim to razumem, samo mislim da nije najsrećnije koristiti pridev antipatičan za to.

[crippled_avenger]

lilit, pravo da ti kažem, počeo sam, ali mi nije leglo... možda ću im opet pružiti priliku, kada izađem iz polarnog kruga.

[Usul]

Ах, ево га још један јеретик који негира Адама Веста. Срећом, ајкула-аргумент то рјешава без проблема.

Hiljadu mu gumenih ajkula! 

[lilit]

ja nemam problem s preglumljenošću i najviše od svega mi smeta betmenov glas. zar u ovoj digitalnoj eri nisu mogli da nađu nešto manje iritirajuće?
i naravno da obožavam gordona, al on mi je draži nego stripovski gordon, javlja mi se da je to isključivo zbog oldmana.
čak mi ni ona svežerazvedena ket cica u batman begins ne smeta koliko mi je smetala na prvo gledanje.
al kristijan bejl mi nikako ne prija koliko god se trudila.
još kad pomislim da ne podnosim ove dve cice što se pojavljuju u DKR...
no, ništa me neće sprečiti da moji naćosi i ja uživamo u sredu uveče!

[Nightflier]

@Najtflajer - da, pa i pomislio sam da ti misliš to na onaj način koji je Meho spomenuo. To je drugo. Mislim to razumem, samo mislim da nije najsrećnije koristiti pridev antipatičan za to.

Da, da, jeste nesrećno upotrebljena reč, priznajem.

[crippled_avenger]

'Get The Gringo' Director Adrian Grunberg on Mexican Prison & Working With Mel Gibson
by Niall Browne
0



Adrian Grunberg and Mel Gibson on 'Get the Gringo' set

Get The Gringo (also known as How I Spent My Summer Vacation in some international markets) has just been released on DVD and Blu-Ray following an interesting release pattern on DirecTV and VOD. The film has achieved good reviews (read ours), with many calling it a return to form for its star (and co-writer and producer) Mel Gibson.

Screen Rant spoke with the film's director Adrian Grunberg , a former Assistant Director who is making his directorial debut with the film. Grunberg talks about working with Mel Gibson, as well as discussing what it's like directing an old-fashioned action film in Mexico.



Tell me about the genesis of the script. Were you attached to the film as a writer first or as a director?

    You say attached, which is a very industry word. This movie was not very industry like. I was offered the movie by Mel, in his office one day. He came to me and said 'I have this idea for a movie about a gringo in a Mexican prison and I think you should direct it,' and I said 'Awesome.' A couple of months later, we started getting together on a monthly basis to throw ideas around and write the script. So, it was together. He wanted me to direct and he wanted me to co-write it with him and Stacy.

You've been first assistant director on quite a few films – what made you decide that this was the movie to make the leap into directing? And how did your previous experience help you?

    The reason I decided was because Mel offered it, and that's an offer you can't refuse. Mel offered me the chance to direct and there was no way I was going to say no. Not only because it was Mel, the actor, but it was a guy who I'd been working with for the last few years. I enjoy him as an actor and I enjoy him as a director. In terms of how my experience helped me – it was the understanding of the psychology, how a set breathes and lives on a daily basis. That's the experience that I've had for many years as an assistant director. As as a crew member you get to work with many different directors – as a director you never get to work with another director again. So I was able to cherish these jobs where I was able to work beside Oliver Stone, Mel Gibson, Tony Scott, Jim Jarmusch. Those are people I admired for years.

You live in Mexico – was it your idea to set the film there, or did that work its way out of conversations with Mel Gibson and Stacy Perskie?

    When Mel first mentioned the project for the first time, he had this idea about a gringo into a Mexican prison, so right off the bat the idea to set it in Mexico was there. I think that was probably the reason he chose me to direct it. It built perfectly on everything.

How much research was needed to make the world of the film seem real?

    A lot. The research was crucial to the script and the more we found out about this place, El Pueblito, the more opportunity to write scenes in an interesting setting. You have a man and woman talking to each other watching a wrestling match – it's visually more interesting than just talking in a corner. So what the research gave me was the ability of writing these scenes in very specific, cool places and there are characters and events in the movies which are based on the research as well. The raid at the end of the movie is based on one of the things which happened in El Pueblito.

Mel Gibson in Get The Gringo

    Mel Gibson in Get The Gringo

Tonally, the film is very similar to Payback. Was there ever any urge to turn the film into a sequel to that in order to make it more commercially viable?

    Not at all. It's funny you should mention it, because it's been mentioned a lot before and I've read many comments on that. It was never discussed that this was going to be anything like 'Payback.' I think yes, now that I think about it there's similar things to 'Payback,' – but I think there's similar things to 'Mad Max' and 'Lethal Weapon.' The fact that this was Mel returning to that kind of role brings that to the film.

The film seems to fit into Mel Gibson's range of films – it has the dark humour interwoven with violence. Is that something that you share with him?

    For sure. I don't think that every movie has to be like that, but certain movies that deal with that reality. We were shooting the movie in a prison. So that's how people talk in prison and that's how we envisioned the movie. Again, I think that's also the reason Mel wanted me to direct this movie. There's certain things which we see eye to eye. We find certain things either funny, or humorous, or dramatic. There's an affinity of sorts there. So yeah, definitely.

It must be intimidating to direct not only an Oscar-winning director, but also a man who knows so much about the action genre. Were you nervous on set, or did your long relationship with Mel overcome this?

    The fact that we've known each other for so long and the fact that we wrote the script together, came up with the tone and the character face-to-face and worked on it for so long, made everything organic. We knew what we wanted for this role and in that sense there was no pressure.

The film plays to all of Mel's skills as an actor. It has the dark humour, the violence, but there's also a strong character. Why do you think Mel is such a captivating screen presence?

    I don't know why, I just know that he is. I don't know how he does it, I really don't. He's not the only actor who does this, but there's not many who can just bring out so much with so little. He doesn't need to speak to bring out a whole array of emotion. The way he understands his body, and the way his mind works. He's a really smart guy, so it's easy to write for him. He just understands filmmaking very well.

Kevin Hernandez in Get The Gringo

Kevin Hernandez in 'Get The Gringo'

Kevin Hernandez gives a great performance as "The Kid." How did you go about casting him, and how did you get him to give such a good performance alongside Mel?

    The casting process was a bitch. We did massive, massive casting in Mexico, and all over the country, we saw thousands of kids and nobody had 'it'. This kid had to have 'it'. It was one of those desperation moves – I called this friend of mine – she's a casting director, she's Mexican, but lives in LA and I said, 'We're looking for this character and I can't find it. Do you have anybody?' She said, 'Look I just finished doing the casting for another movie and I have this kid who's amazing.' She sent over the videotape of something else and immediately we loved him. We brought him over. The guy's just a confident kid. You know, he's confident in himself and he's very well brought up. His parents are regular, humble people and I think that says a lot – the way that you bring up your kid. He's just a good, big-hearted kid, with a big boost of confidence.

The world of Get the Gringo looks very real and it was shot on location. How much of it was authentic and how much was production design?

    We shot in a real prison, so a lot of the sets were already there. The look of this place was there. But Bernardo Trujillo, who was the production designer had to create this place – El Pueblito – and there was a lot of work that he and his department had to do, which was spectacular what they created, because it looks real, it looks used and it looks decadent. It was very well-conceived and designed. My heart goes out to him and his crew.

What challenges did you face when making the film?

    None different from any other movie. I was at the helm now, so what I did was surround myself with really talented people, who were also friends and they lifted me up.

Get the Gringo is not only a throwback to older action pictures, but it's also got a strong western vibe. It was warmly embraced by the critics – do you feel that people are getting fed-up with too many special effect spectacles and want something a bit more grounded?

    I can only hope so. I don't know if that's what they want, hopefully there is a market for it. It's a different kind of movie, nothing that hasn't already been done before, but maybe reminiscent of something of sometime in the past.

Adrian Grunberg interview

The action sequences are very well choreographed – is this something that you plan in advance – or do you get to the set and try to figure it out and then work it together in the editing room.

    You need to have a plan going in and you need to have a base of what you are going to do. The you can allow that to organically change and add to it, but you do have to start with a pretty clear idea. You can spend weeks shooting and you don't have that luxury.

The film had an interesting release approach. How involved were you in this and do you see it was the way that films will be released in the future?

    I wasn't involved at all. This was a Mel and Icon decision. I think it was a gamble and I think that Mel has in the past used alternate methods of distribution. I think that it's a bold move and I hope that it pays off for him and for me. I definitely think that it is a big part of the future, whether or not it's part of the present? That's still to see. We'll see how the movie went.

What's next for you as a director?

    A lot, I hope. I've been reading scripts. I'm starting to write a few things as well. But so far I don't have news about anything coming up.

[crippled_avenger]

Pogledao sam BEYOND THE BLACK RAINBOW i pre svega me je obradovalo da George Pan Cosmatos, jedan od najpotcenjenijih reditelja ima naslednika koji je uspeo da privuče pažnju sa svojim rediteljskim debijem i nastavi prisustvo ovog prezimena u svetu kinematografije. Za razliku od mnogih pouzdanih profesionalaca koji su se izražavali u različitim žanrovima i profilima repertoarskog filma, Cosmatos je bio sposoban da svaki projekat realizuje sa punim ubeđenjem, stvarajući izvanrednu atmosferu, upečatljive likove i scene za pamćenje bilo da je reč o nečemu kao što je COBRA ili TOMBSTONE. Ako imamo u vidu da je Cosmatos celu karijeru proveo radeći u nekakvim klimavim produkcionim uslovima, da mu je možda i ponajbolji film TOMBSTONE zapravo bio nezahvalan zadatak da odmeni Kevin Jarrea posle početka snimanja, da je u nekim slučajevima morao da bude realizator Stalloneovih vizija i sl. - uspeo je da ostvari ne samo izvanredan uspeh već i da sa nekim svojim radovima postavi standarde koje ni danas nije lako dostići - tako je recimo TOMSTONE još uvek primer vrlo ozbiljne rekonstrukcije vesterna, CASSANDRA'S CROSSING je uzor za suspense film-katasrofe a OF UNKNOWN ORIGIN je kamerni horor visokog integriteta, dočim RAMBO 2 spada među solidnije a COBRA među živopsinije predstavnike svog žanra. Ipak, sve to nije bilo dovoljno da Cosmatos dobije zasluženo poštovanje za života, odnosno dobio je nešto pažnje tek pred smrt kada je bio teško bolestan. 

Panos Cosmatos dakle nastupa posle oca koji je umeo mnogo a nije bio dovoljno cenjen. Njegov debi je prilično beskompomisan indie horor, inspirisan slikama i zvukom Cronenbergovih filmova iz osamdesetih. Panos Cosmatos je snimio za ranog Cronenberga ono što je AMER bio za giallo, i glavni ključ za sagledavanje ovog filma jeste to kako fetišizuje estetiku osamdesetih, i kako svojevrsnu "trenutnu" fazu u radu jednog reditelja, uspeva da uzdigne na nivo univerzalne estetike. Ponekad iznuđena rešenja iz filmova osamdesetih, a tu ima ne samo Cronenberga, već ponešto i Carpentera i Manna, Panos tretira kao krajnji cilj, kao ono čemu u osnovi stremi njegov film.

Priča o nadovezivanju na Cronenberga naravno dovodi i do ključne razlike između Cosmatosa i Cronenberga. Naime, Cosmatosa ne zanima pričanje priče, on nema savršeno racionalan pristup nečemu iracionalnom. Čak i u svojim srednjemetražnim, studentskim, vrlo alternativnim radovima, Cronenberg ne pribegava spoju iracionalnih premisa i iracionalnih postupaka iako u tim radovima on ne nudi ni tipičnu narativnu tehniku koju je kasnije koristio. Cosmatos pak ima "nekakvu" priču u osnovi i ona daje naratuivnu logiku prizorima kojima se bavi, ali u krajnjoj konsekvenci, BLACK RAINBOW je svoje ishodište našao u atmosferi i estetizaciji pojedinih prizora i situacija a ne u pripovedanju.

Ova razlika je fundamentalna, ali opet ne remeti neraskidive veze postavljene na osnovu prvog utiska. Međutim, kada se skloni Cronenberg na stranu, sigurno je da se ono što inspiriše Cosmatosa može nađi i u nešto daljoj prošlosti fantastike na filmu, to jest u onome što je formiralo Cronenberga. Rečju, možda Cosmatos ide dalje u prošlost u odnosu na Cronenberga ali ne ide nikude posle njegove rane faze.

U tom pogledu, BEYOND THE BLACK RAINBOW me je podsetio na DRIVE Nicolasa Winding Refna. Refn doduše nikada nije ovoliko radikalan, i u svojim filmovima ima više priče u mejsntrim smislu, ali to je negde ta linija.

Šteta je što film u sceni sa dvojicom naduvanih hevimetalaca malo iskoračuje iz atmosfere koja je do tada izgrađena i pokazuje da Panos Cosmatos nije iskontrolisao baš sve svoje impulse, ali i uprkos tome ovo je debi koji obećava. Zanimljiv je aktuelni talas filmova koje rade sinovi velikana - Cronenbergov sin je snimio ANTIVIRAL, Landisov sin je pisao CHRONICLE i još mnogi su aktivni. Ako izuzmemo Landisa čiji film se dosta razlikuje od očevog rada i bilo kakve istorije filma, ostali se dosta oslanjaju na zaostavštinu očeva i filmova iz prošlosti generalno.

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Pogledao sam DER NEUNTE TAG Volkera Schlondoerffa, ekranizaciju knjige Jeana Bernarda, luksemburškog sveštenika koji je bio zatočen u "svešteničkom odeljenju" logora Dahau. Dahau je i nama poznat kao logor u koji su internirani Patrijarh Gavrilo Dožić i Vladika Nikolaj Velimirović, ali u slučaju katoličke crkve imao je takođe veliku ulogu u svrhu pritiska da lokalne katoličke crkve podrže naciste, kada su simpatije Vatikana počele da jenjavaju.

DER NEUNTE TAG je praktično duo drama u čijoj osnovi je mentalni dvoboj između luksemburškog sveštenika i mladog naciste koji želi da obezbedi njegovu podršku uz razne vidove pritiska i ucene. Deo kritike je primio DER NEUNTE TAG kao duboku filozofsku dramu, naročito u Americi, i što se mene tiče, ako izuzmemo činjenicu da se u filmu govori o ozbiljnim pitanjima (i to vrlo pojednostavljeno) teško da ima bilo kakve ozbiljnije filozofije.

Bez sumnje, poučno je za veliki deo gledališta da vidi razliku između nacizma i hrišćanstva, naročito ako imamo u vidu elemente hrišćanstva koja su nacisti aproprirali, ali teško da se išta od toga može proglasiti bilo kakvom filozofijom. Otud, mislim da je američku kritiku malo zavela činjenica da su glavni junaci ljudi koji razgovaraju o nekim ozbiljnim pitanjima.

DER NEUNTE TAG je po rediteljskom postupku prilično staromodan, surov, tvrd i kameran, i suprotan je poznatijim ratnim filmovima ovog reditelja koji su unosili elemente bajke.

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North Korean Dictator Kim Jong Un Gets Married
ABC NewsBy JOOHEE CHO and AKIKO FUJITA | ABC News – 2 hrs 5 mins ago

   
North Korean state media ended weeks of speculation today, announcing that the mystery woman who has accompanied North Korean leader Kim Jong Un on recent public events is his wife.

Referring to her as Ri Sol Ju, the station reported on the couple's visit to Neung Ra People's Resort during the 8 p.m. broadcast, identifying Ri by name for the first time, and identifying her as "wife" four times during the news report.

"As welcome news played, our Marshal Kim Jong Un and his wife comrade Ri Sol Ju came to the inauguration," the announcer read.

Ri, wearing a black skirt with a burgundy jacket in black heels, was shown walking alongside Kim at the resort followed by Kim's uncle Jang Song-Taek, known to be the power behind the new leader. In another scene, she was seen sitting on the right side of Kim while being briefed by officials.

Ri, a short-haired woman who appears to be in her 20s or early 30s, made her first public appearance with Kim on July 5, wearing a yellow polka dot dress and white jacket, during a concert in Pyongyang.

Since then, she's been seen walking next to the new leader on a visit to the mausoleum of his father and late leader Kim Il Sung. On Tuesday, state television aired photos of the woman standing next to Kim during a visit to a kindergarten. She was seen smiling, as Kim hugged and talked to children, with officials standing behind the couple.



Kim took over as leader of the North Korean regime in December following the death of his father, but like so many aspects of the reclusive country, little is known about the leader. State media did not provide specifics on when the couple had married.

Just last week, Kim was elevated to the top of the military rank as "marshall," a title held by both his late father and grandfather, North Korean founder Kim Il Sun.

Since taking power, Kim has tried to be alter the country's austere and militaristic image. At his inauguration, Jong Un proclaimed a new powerful nation in which people will be fed properly, hinting that he will focus on economic welfare.

The new leader, believed to be in his late twenties and educated in Switzerland, has ordered comparatively liberal policies such as allowing women to wear pants at public events and encouraging foreign restaurants to be opened.

He was seen earlier this year visiting a fastfood restaurant and commenting on the package design of hamburgers.

At the July 5 concert which showcased girl groups dressed in mini-skirts and tube top dresses, a surprise to the outside world given North Korea's past history of conservatism in women's wardrobes on state TV, Kim was spotted raising a thumb at the group singing a melody from an American movie "Rocky."

The concert also featured Disney characters such as Mickey Mouse, Minnie Mouse, and Winnie the Pooh dancing on stage.

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Pogledao sam REC 3: GENESIS Paca Plaze, film u kome je Plaza dekonstruisao mitologiju RECa na tragu onoga što je Wes Craven uradio sa NEW NIGHTMAREom. Ono što je razlika jeste promena stila - naime, Craven je u NEW NIGHTMAREu odlučio da se odmakne od fikcije i napravi priču smeštenu u "realnosti" a Plaza je napravio klasičan film, sa "četvrtim" zidom umesto found footagea.

REC 3 zapravo počne kao found footage i to prilično vibrantan, sa jače definisanim likovima u tih prvih petnaestak minuta nego što smo imali u ranijim RECovima ali onda kreće promena - pretvara se u klasičan igrani film sa "neutralnim" posmatračem, premda gde god može koristi materijal kamera vidljivih u kadru, i čini ono što je najkontrovernije od svega za fanove RECa - postaje KOMEDIJA.

Dakle, Plaza snima treći REC kao komediju i odstupa od smrtne ozbiljnosti prva dva filma, od kojih je prvi bio dobar i dosta bitan u svojoj sezoni a drugi bio nedledljiv. Plazin film je ipak čista splatter komedija,  sa zabavnim situacijama, fino postavljenim likovima, interesantnom ljubavnom pričom koja sve drži u temeljima, i nema skoro pa nikakve veze sa onim što su bili raniji udruženi zločinački poduhvati Plaze i Balaguera.

Kada sam se prvi put susreo sa Plazinim radom u filmu ROMASANTA i TV antologiji PELICULAS PARA NO DORMIR, delovao mi je kao jedan od najperspektivnijih španskih žanrovskih reditelja, siguran u postavljanju likova i priče, sa zrelim smislom za humor. Balaguero je s druge strane delovao kao previše pretenciozan reditelj čiji filmovi čine kontinuitet napora i dosade. Međutim, Balaguero je sa filmom MIENTRAS DUERMES nametnuo kao potpuno "nov čovek", snimio jedan dinamičan, atmosferičan i duhovit film. Ne može se reći da je Plaza u krizi - njegov REC 3 je solidan primer splatter komedije, ali i posle njega još uvek čekamo na njegov film koji će moći da ga u potpunosti potvrdi kao što je MIENTRAS DUERMES dao smisao Balagueru.

Da je REC 3 debi i da je reč o niskobudžetnom radu, dobio možda i veću ocenu. Ovako, on ima sve karakteristike debitantskog filma, i to prilično dobrog, ali na Plazu privlači vrstu pažnje koja zapravo njemu više nije potrebna.

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[lilit]

dobar!!!!!!!!!!!!!!!!!

[Franz Xaver von Baader]

Ali, iz tih problema iznosim svoj zaključak, koji možda nije tačan, a to je da kada se prave filmovi o nacistima nikako ne sme da se zaboravi ideologija i njen uticaj, i ne sme da se zaboravi sve ono što su oni izazvali niti da se na bilo koji način to zamagli "ličnom" pričom.

kriple, ne znam otkuda u tebe ova iznenadna pretjerana osjetljivost na "zločeste nijemce", da nisi u međuvremenu dok me nije bilo svršio brzi kurs agitpropa?
čitao sam malo prepisku koju si potakao svojom crvenom preobrazbom i mora se priznati da stvar djeluje gotovo komično. dogovarate se i tapšate nad jednom lešinom koja je odavno raspadnuta i čija verifikacija uopće nije sporna! ovakva revna bogonacibojaznost je suluda čak i za jednu libeat. nacizam je definiran bez ostatka i ne postoji nikakav prostor za izmaglice: sve je poznato, na razini općeprihvaćene činjenice.

jevtropijevićka je odmah osjetila da je nešto u čitavoj tvojoj priči klimavo, ali nije našla tome pravi izraz. zato želim pomoći.
prije izvjesnog vremena, pisao si komentar Pada Italije. između ta dva tvoja momenta, primjećujem veliku raspuklinu. ogromni lom koji dokida dosljednost. citat koji sam gore stavio potpuno pokriva Zafranovićev postupak u prikazu četnika. ovdje zastupaš tu tezu, a tamo si dovodio u pitanje. mislio si da je Lordan dao mašti na volju, drugim riječima da je ideološki simplificirao kompleksnu zbilju četnika. je li moguće da si sam podlegao zovu krvi i tla? što uopće znači "pamtiti" monstruoznost tamo udaljenih, u svim smislima, nijemaca? držati to pred očima da bi se zakrilo ono blizu, ono domaće?

tu je problem ovog moraliziranja. naime, kad je u pitanju srbija, ne radi se o "zločestim nijemcima" (ta stvar nije sporna), već o "zločestim srbima". tu treba položiti ispit, prvo. i upravo je to neuralgična točka. a ne filmovi sa Tomom Cruiseom i sa ishlapjelim nacistima kojima je već 70 godina dodijeljena neoboriva neupitna pozicija. stoga moram reći ono što se jevtropijevićka nije usudila izreći: tvoj zaključak ne stoji, upravo obratno. već je odavno vrijeme (naime, otkada je nacizam pospremljen u ropotarnicu i ušao u Veliki Narativ Svijeta kao loša propala stvar) otkako se MOGU snimati filmovi koji ne trebaju voditi računa o ideologiji i mogu premještati težište na osobne drame, kompleksnu zbilju i položaj čovjeka koji je natkriljen tim silnicama. to se može raditi, jer nema opasnosti da se osnovna pretpostavka (da je nacizam loš) zamagli ili podvrgne prevrednovanju.

dakle, nije to problem, pitanje njemačkog nacizma, nego je pravi gorući problem za ovu tvoju strasnu lijevu angažiranost - pitanje četništva i srbije. tu su se uvukle izmaglice i kužne pare, odozdo do gore. od pijace do najviših foruma i državnih tijela.
"nikako ne sme da se zaboravi ideologija i njen uticaj, i ne sme da se zaboravi sve ono što su oni izazvali niti da se na bilo koji način to zamagli"   evo, upravo to, tu je polje društvenog angažmana u današnjoj srbiji koja rehabilitira četništvo.

[Mme Chauchat]

jevtropijevićka je odmah osjetila da je nešto u čitavoj tvojoj priči klimavo, ali nije našla tome pravi izraz. zato želim pomoći.

Sad bih ja rekla nešto veselo, u stilu "samo nek si ti meni pomogo!" ali me je vest o snimanju "Ravne gore" tako utukla da mi nije čak ni do zajebancije povodom četnika u srpskom (hrvatskom, jugoslovenskom) filmu.   

[Franz Xaver von Baader]

ovog puta ću te morati razočarati: nema zajebancije. osim ako zajebancijom ne smatraš ovo kriplovo premještanje problema: lansirati danas, nakon što je već raspadnuta lešina, nacizam u prvi plan javnosti i upozoravati na opasnost, dok se pušta pravi "nacizam" da truje i nagriza mladež kroz sve društvene strukture.

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Pingvin kao i uvek uspeva da razotkrije moju pravu agendu. Pitanje je samo ko pravi grešku, da li on koji poistovećuje četnike i naciste ili ja koji ih ne poistovećujem.

lilit je doduše nagovestila šta je moja prava agenda još u početku kada je počela da koketira sa time zašto se u istoj meri ne zgražavam nad srpskim zločinima, dakle Pingvin nije prvi, ali je svakako najopširniji.

[lilit]

mi srpkinjice izosne znamo da budemo majčinski oštre, ali pravedne!

a pingvin mora da me stavio na ignor posle incidenta u kom me proglasio podmuklom!

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lilit, vidi ovo. Trejler za ekranizaciju CLOUD ATLASa -

http://www.dobanevinosti.blogspot.com/2012/07/cloud-atlas-trailer.html

[lilit]

ej, videh to jutros. dragi muž mi poslao uz rečenicu: trejler deluje overwhelming.

nego, odgleda li betmena? ket mi je the best cat ever! i jos imaj na umu da me glumica do juce najcrnje nervirala.
baš me zanima kako deluje na tebe. 

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Gledaću večeras. Pa kud puklo.

Inače, za večernje projekcije moraju da se rezervišu karte a još nije ni vikend!

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Pogledao sam FOUR CHRISTMASES Setha Gordona. Gordon se dugo tražio kada je iz sveta dokumentarnog filma prešao u mejnstrim komediju. Njegovi filmovi su uvek bili karakteristično dobro režirani sa visokom vizuelnom kulturom, ali tek je sa HORRIBLE BOSSES isporučio jedan u potpunosti zaokružen film.

FOUR CHRISTMASES je bio Gordonov blokbaster sa izvanrednom glumačkom podelom koju čine Vince Vaughn i Reese Witherspoon u glavnim ulogama i veterani poput Roberta Duvalla, Sissy Spacek i Jona Voighta u sporednim. Nažalost, film ne uspeva da prikrije svoje high concept korene i od koncepta nikada ne uspeva da se pretzvori u pravu priču. Isto tako, nekoliko briljantnih gegova podiže standard humora dosta visoko a ostatak filma ne uspeva da bude ni približno toliko smešan, tako da efekat mahom izostaje uprkos nekim upečatljivim scenama.

Gordon je srećom vrlo efikasan i stvari se odvijaju u visokom tempu, film traje taman koliko sadržaj može da izdrži i upravo njegova filmmejkerska veština izvlači maksimum iz nečega što je zapravo jako daleko od pogotka. Srećom u HORRIBLE BOSSES Gordon uspeva da vešto skroji potentan materijal i da ispuni potencijal koji je dotle samo najavljivao.

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Pogledao sam THE DARK KNIGHT RISES Christophera Nolana i smatram da je sa ovim filmom pre svega pokazao da je izuzetno inteligentan autor. Naime, sada Nolan kombinuje najuspelije elemente prva dva filma i pokušava da umanji ono što je u oba bio problem.

Od BATMAN BEGINS nisam bio veliki ljubitelj Nolanovog reboota jer me je taj film uverio da je na filmu nemoguć millerovski realizam naprosto zbog toga što film podrazumeva veću konzistentnost stilizacije nego strip a da naročito Nolan sa svojim ozbiljnim rediteljskim nedostacima nije čovek koji to može da izvede. Iz BATMAN BEGINSa, Nolan preuzima motiv Wayneove transformacije u Batmana izvan civilizacije kod Al Ghulove ekipe, što je u tom filmu jedino bilo dobro. U trećem delu, Wayne je zaboravio kako biti Batman i mora da ode na sam početak kako bi se vratio "korenima" i pripremio za "vreme smrti". Bane kao negativac koji ima istu obuku kao Wayne preuzima ulogu njegovog Muse Kesedžije, podvlačeći da će klasni i u određenom smislu civilizacijski sukob biti okosnica trećeg filma.

Iz DARK KNIGHTa, Nolan preuzima intrige vezane za grad Gotham kao samostalni organizam i Wayneov život kad nije u kostimu. U trećem filmu sam grad preuzima ravnopravnu ulogu a građani se javljaju kao kolektivni junak. Sa akcentovanjem ova dva uspela momenta, Nolan uspeva da zabašuri ono što mu je najslabije išlo a to je sam Batman. U RISESu samog Batmana ima jako malo i iznenadio bih se ako bi se ispostavilo da sam Nolan nije sklonio kostimiranu fazu svoj junaka shvativši da ne funkcioniše.

U RISESu i kada se pojavi, više nije nije usamljen, tu je Catwoman, sa kojom ima upečatljivu hemiju, ili su tu neki zanimljivi aparati.

Naravno, NOlan ne uspeva da pobegne od šokantno nezanimljivih pesničenja ali zato je sada tu Bane čije se lice skoro pa ne vidi ali mu Hardy daje snagu igrajući telom i glasom. Sve tri tuče sa Baneom su dosta impotentne ali učesnici ih čine boljim nego inače.

Gostujuća ekipa koju dovodi Nolan iz INCEPTIONa + Anne Hathaway je izvanredna. Pošto sam kao desetogodišnjak gledao BATMAN RETURNS ne mogu da kažem da će mi Anne Hathaway biti asocijacija na Catwoman, ali me ne bi čudilo da novim generacijama bude.

Nolan je koncepcijski pametno preuredio film ali svakako da u njemu i dalje ima stvari koje bi darovitiji reditelj bolje realizovao. Ispadi poput cheesy one-linera koje izgovori Morgan Freeman u sred velikog obračuna ili fokus na dva goofy policajca u sred potere i još štošta stoje kao greške koje talentovaniji reditelj ne bi napravio. Ali, to su sve detalji, spram nekih važnih a slabo realizovanih scena kao što je recimo prelomni dijalog Bruce Waynea i Alfreda kada se razilaze koji deluje gotovo početnički kad je reč o inscenaciji, glumi i montaži.

Naravno, ne mislim da za Nolana kao reditelja nema mesta ali svakako da je ovako kompleksna stilizacija bila preteška za njega. INCEPTION recimo jeste prototip kako bi Bond danas trebalo da izgleda i voleo bih da se on pokaže u toj franšizi.

Ipak, isto tako, nesporno je da Nolan sve postavlja jako vešto na planu scenarija i RISES slično DARK KNIGHTu ili INCEPTIONu deluje kao film koji je mnogo otmeniji i pametniji nego što jeste.

U tom smislu, izabrao je idealan trenutak za film o Batmanu koji se bori sa robespjerovskim negativcem i zapletom u kom unutrašnje socijalne tenzije proizvode energiju koja će uništiti grad. Ne čudi da je film izazvao političke polemike premda rekao ih da je u tom pogledu krajnje eksplicitan.

Nolanu se taođe ne može osporiti snaga filmskih prizora na nivou zamisli što je opet scenaristički adut. Neke od njih je samo delimično kapitalizovao.

Snažne prizore ispratio je izuzetno energičan skor Hansa Zimmera koji znatno unapeđuje film.

Retki su slučajevi da se trilogije završe najboljim filmom i moguće je da ni ovo nije taj slučaj jer se RISES neće dopasti onima kojima su BEGINS i DARK KNIGHT nepogrešiva remek-dela. Pošto meni nisu, RISES mi je daleko najbolji u trilogiji.

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[lilit]

tako je!!!

en hatavej mi je the best ket ever! da ne verujes! i vise je ne mrzim ko crnca!!! 

hvala. 

[Usul]

Šta kaže Ajlin Džons
http://exiledonline.com/the-dark-knight-rises-vs-the-99/

So get this. At the end of The Dark Knight Rises, Batman/Bruce Wayne (Christian Bale) is supposedly dead and gone, having sacrificed himself to save Gotham City without the public appreciating it—ungrateful bastards! Commissioner Gordon (Gary Oldman) gives the eulogy at the sparsely attended funeral. In tribute to Batman's heroism, Gordon reads Sydney Carton's final lines from A Tale of Two Cities.Yeah! He really does! The whole "It's a far far better thing I do than I have ever done, it's a far far better rest I go to than I have ever known" bit!

[Nightflier]

Ja sam veoma skeptičan glede Nolanovog "Betmena", pošto mi se prva dva izrazito nisu dopala. No, sutra ću ga pogledati, pa da vidimo.

[Albedo 0]

nije prvi put da se Amerikanci pokažu kao najveći kritičari, ali do sad ne pamtim da je bilo ovako energično, da su toliko uvrijeđeni fimovima, Vladinom politikom itd...

[crippled_avenger]

Nolan je malo čačnuo politiku i odmah su se nadražili kao da je napisao MEIN KAMPF...