The Crippled Corner

[Mme Chauchat]

Nenene, baš pričam o istom režimu, sećaš se valjda onih stvari aktuelnih 96/7, plus oni *fenomenalni* spotovi ondašnji sa detetom koje ikonom rastura orgiju, sećam se napada besa mog mirnog i tihog kolege sa studija kad se oni pomenu.

[Джон Рейнольдс]

Не заборавимо и Груа!

А то за "Ван Гога" ми није јасно, зар се није до изнемоглости опозиционо хабала нека њихова песма снимљена уживо, беше и неки концерт у СКЦ-у одржан у неко незгодно време... Бем ти, трудим се да потиснем све у вези са Ђулетом, па сам све позаборављао!

Али Груа и 187 нисам заборавио. 

[Melkor]

Hmm, ne, ne secam se. Ono cega se secam je da su posle 5. oktobra narodnjaci na poluvremenima fudbalskih prenosa zamenjeni "rockom" gde su udarni bili Van Gogh. Odjednom su i neke velike ugovore potpisali i bili su jos malo ko Gorcin Stojanovic...

EDIT; da, i meni kroz maglu promice neka veza sa DOSom.

[Milosh]

Mislim da je u slučaju Van Goga u pitanju čisto pozerstvo koje se, čini mi se, i dalje nastavlja u raznim mutacijama, a što je više nego dobar razlog za prozivku...

[Джон Рейнольдс]

VAn Gogh-Neko te ima nocas

Чују се и пиштаљке. 

[Mme Chauchat]

Pa jel im PGP objavio album u najcrnje vreme, '93 ili tako nekako? Jesu li napravili nekoliko spotova, za ono vreme besomučno skupih, koji su se posle isto tako besomučno vrteli na RTS-u? Mislim daj, opozicija su bili ko što su danas Dveri opozicija. To što su se naivni primali je druga priča. -.-

[Джон Рейнольдс]

Ако је веровати Википедији, за ПГП су снимали од 1986. до 1996.

Van Gogh (ПГП РТБ, 1986)
Свет је мој (ПГП РТБ, 1991)
Страст (ПГП РТС, 1993)
Трагови прошлости (компилација; ПГП РТС, 1995)
Ходи (ПГП РТС, 1996)

Таман је тај опозициони концертни лепо легао '97 године. Толико их нисам пратио да нисам имао појма да су први албум издали још '86. Тад се ваљда Ђуле фурао на ЕКВ, носио дугу косу, ево враћа ми се и тај ужас полако...

[Mme Chauchat]

Nemoj me s tim u ovo doba noći...

[crippled_avenger]

Van Gogh je bend koji prati političku opciju slušalaca. Sad kad više nije jasno ko to sluša, prati političku opciju izdavača i sponzora a u slučaju Telekoma to je isto. U tom smislu, ne čudi da je Đule u Dinkićevoj stranci, i on ima nameru da smenjuje SNS i DS u koalicijama i stalno bude "na vlasti". Galija je s druge strane uzela aktivno učešće u "događanju naroda", bila na vrhu s SPSom, pala sa njima, i sačekala da sa SPSom doživi comeback.

Izdavanje za PGP doduše nije nikakav argument, i Brejkersi su izdali ploču za njih u sred Slobine vladavine a nisu bili SPSov bend.

[Meho Krljic]

Pa, da, urednik u PGPu je bio Peca Popović i u to vreme je izdao i Plejboj i Brejkerse koji su drugosrbijali iz sve snage. Na samoj televiziji je bilo opozicionara kolko hoćete. Sećam se kada sam 1994. godine snimao neki prilog za Metropolis (emisiju na RTSu) i molio reditelja da me zaustavi kad krenem da lajem (pošto sam promovisao svoj fanzin i neke anarhističke pamflete srpsko-hrvatske), on je rekao da mogu da pričam šta hoću i da se na RTSu gleda samo šta se kaže na Drugom Dnevniku, a da je u ostalim redakcijama i emisijama totalna sloboda. To je valjda i bio prepoznatljiv miris Miloševićevog režima - haos, bezvlašće i lov u mutnom 95% vremena i tek povremeni represivni incidenti.

[crippled_avenger]

"An American Werewolf in London" director John Landis, father of the currently in-demand scribe Max Landis, spoke with The Playlist this week and mentioned how the proposed sequel to this year's ambitious superhero feature "Chronicle" was going.

It seems that Max has already penned the sequel script which his father read and would love to see made, however the studio is apparently not so keen on the idea.

"He wrote a sequel, and it's amazing, and the studio read it and said, 'We want 'Chronicle' again!' And he said, 'No, this is the sequel, it's the evolution, and they said 'No, we want that movie again!' So it's difficult, we're dealing with a difficult business" said the elder Landis.

Previously it had been indicated that the younger Landis and director Joshua Trank had mapped out enough story for three "Chronicle" films.

[crippled_avenger]

Danny DeVito is set to direct the indie comedy "Honeymoon With Dad" at Tapestry Films and Reel FX Creative Studios reports Variety.

The story follows an accountant who, after being left at the altar, winds up going on his would-be honeymoon with his estranged and larger-than-life father. Scott Atkinson and Tegan West penned the script.

It's not certain whether DeVito is interested in also starring in the project, but it is possible. Shooting will take place during DeVito's next hiatus from his work on "It's Always Sunny in Philadelphia". Michael Schreiber, Peter Abrams, Cary Granat and Jared Mass will produce.

[crippled_avenger]

ko drugome fukujamu kopa...

http://www.rts.rs/page/tv/ci/story/17/%D0%A0%D0%A2%D0%A1+1/1190078/%D0%A1%D0%B0%D0%BC%D0%BE+%D0%BD%D0%B5%D0%BC%D0%BE%D1%98+%D0%97%D0%B0%D0%BF%D0%B0%D0%B4+%D0%B4%D0%B0+%D0%BD%D0%B0%D1%81+%D0%BC%D0%B8%D1%80%D0%B8.html

[crippled_avenger]

Pogledao sam SAVAGES, dugo očekivanu adaptaciju Dona Winslowa koju je kaparisao Oliver Stone još pre izlaska knjige. Film je solidan ali nije onoliko snažan koliko je mogao da bude i koliko je, u krajnjoj liniji, trebalo da bude. Čini mi se da Stone ima želju da nadgradi Winslowa i krimić koji je bio osnov, ali u tome ne uspeva jer nema tačnu ideju na koji bi način to postigao.

SAVAGES je film koji bi se u Stoneovom opusu mogao osloniti na radove kao što je SCARFACE, NATURAL BORN KILLERS i U-TURN, ali nema snagu ni jednog od tih naslova koji su, svaki na svoj način, bili prelomni filmovi unutar svog podžanra. Ono što Stone na kraju nudi kao nadgradnju jeste ekipa grungy likova i naravno maestralna egzekucija na nivou vizuelne kulture i ritma.

SAVAGES u Stoneovim rukama postaje više od rutinskog repertoarskog krimića (mada možemo se s punim pravom upitati šta je to u današnjim okolnostima i da li to postoji uopšte u savremenom Holivudu) pošto taj stepen veštine u čisto tehničkom pogledu ima malo koji reditelj koji se bavi takvim materijalom.

Produkcioni dizajn, fotografija, celokupan udar na čula koji film nudi je izvanredan. Međutim, ovde se Stone ne bavi nekim esktremnijim nadražajima kao recimo u U-TURNu što verovatno ima veze i sa tim da je film slikao solidan profi Dan Mindel a ne DP autor kao što je Robert Richardson.

U tom pogledu, ovde Stone zapravo nudi neka rešenja koja su u međuvremenu postala mejnstrim zahvaljujući njemu i Tony Scottu. Pokojni Tony bi se čak sa ovim materijalom bolje snašao jer je SAVAGES u određenom smislu i bio potencijalni TRUE ROMANCE za 21. vek.

U ovoj formi ipak nije na nivou TRUE ROMANCE ali se uklapa u aktuelni trend priča o opakim meksičkim kartelima koju popularizuju ostvarenja poput serije BREAKING BAD.

SAVAGES nema previše dodirnih tačaka sa Gibsonovim HOW I SPENT MY SUMMER VACATION ali svakako da ova dva filma predstavljaju dosta upečatljive spomenike novoj generaciji meksičkih kartela uz naslove kao što je tamošnji MISS BALA i sl.

SAVAGES u osnovi ima sve elemente osim jakog kohezivnog faktora koji bi na nivou celine uspeo da pokrene ceo film izvan bazične žanrovske postavke. To ne bi bio problem da Stone ne želi da postigne to prevazilaženje žanra. To mu je uspelo u U-TURNu, a SAVAGES više deluje kao vrlo uzoran primer standardnog repertoarskog krimića.

Taylor Kitsch i Aaron Johnson su vrlo solidni kao narko dileri u vezi sa Valley Girl koju igra Blake Lively, a antagonisti su Salma Hayek i Benicio Del Toro koji su harizmatičniji od njih, ali sa likovima koji su groteskniji i manje ubedljivi tako da ne nastupa disbalans između mladih i već formiranih zvezda.

Tayloru je ovo bila treća meč lopta u sezoni i iako SAVAGES nije razvalio blagajne, prošao je zapravo prilično bolje i procentualno neuporedivo bolje od JOHN CARTERa i BATTLESHIPa. Ipak, čini mi se da ovaj film nema snagu da Taylora izbaci tamo gde bi on trebalo da bude.

Stone po prvi put ne nudi pubertetsku energiju koja inspiriše njegove obožavaoce i frustrira njegove protivnike ali i dalje se drži i SAVAGES deluje kao film znatno mlađeg reditelja što znači da ima snage za još bitaka.

* * * / * * * *

[Meho Krljic]

ko drugome fukujamu kopa...

http://www.rts.rs/page/tv/ci/story/17/%D0%A0%D0%A2%D0%A1+1/1190078/%D0%A1%D0%B0%D0%BC%D0%BE+%D0%BD%D0%B5%D0%BC%D0%BE%D1%98+%D0%97%D0%B0%D0%BF%D0%B0%D0%B4+%D0%B4%D0%B0+%D0%BD%D0%B0%D1%81+%D0%BC%D0%B8%D1%80%D0%B8.html

Da, gledao ja Žižeka sinoć, ahahah, još kad je opsovao 

[Agota]

cool, DIVLJACI su u bioskopu!   

[Agota]

savages je urnebesno glup ,a super sam se zabavila!!!
mozda je trebalo pre filma da bude upozorenje: samo za amere,da se ljudi pripreme...
sta je poduvao oliver stone pa je dao ulogu Blake Lively  ,koja stvarno ima  momenata...
sto se tice kraja filma, tu je mrtva trka koja verzija kraja je gluplja, a to kako mali perica zamislja kartel i odnose unutar njega,  pa ja  mislim da je latino sapunica mind game u odnosu na ovo ostvarenje .otprilike baja provede dve godine u iraku i sjebe kartel. ok,ovo jeste adaptacija ,ali scenario i kasting su za glavne protagoniste PROMASAJ.
dzon travolta je konstantan,dobar je ,benisio na zadatku,salma tu i tamo ima padove ,e, da urnebesno glupo je i kad salma pola rzgovora (sa majkom ili cerkom) prica pola spanski pola engleski valjda da pokazu eto, kako sandra ecevarija zna oba ,sta li..
vizuelno film je ok ,mada ima poprilicno praznog hoda ,talasa...e, da soundtrack je ok..
u svakom slucaju preporuka ,gledajte  sa prijateljima i super cete se zabaviti.
naravno ,ocena ni 2.

[crippled_avenger]

 "Your politics and campaign are clearly not aligned with the themes we portrayed in our series," Berg writes in the letter, challenging the GOP contender's use of "Clear Eyes. Full Hearts. Can't Lose."
Friday Night Lights Cast Romney Split - H 2012
Paul Drinkwater/NBC ; Spencer Platt/Getty Images

Peter Berg, the writer-director of the Friday Night Lights movie and television series, is not pleased that Republican presidential candidate Mitt Romney has co-opted a phrase from the show for his campaign appearances.
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In a letter to the Romney campaign sent Friday and obtained exclusively by The Hollywood Reporter, Berg calls the use of "Clear Eyes, Full Hearts, Can't Lose" an act of stealing. "Your politics and campaign are clearly not aligned with the themes we portrayed in our series," Berg writes in the letter. "The only relevant comparison that I see between your campaign and Friday Night Lights is in the character of Buddy Garrity -- who turned his back on American car manufacturers selling imported cars from Japan."

Read the Full Letter Here.

Romney has used the "Clear Eyes" phrase — which originated as a rallying cry for the high school football team on the FNL television series — in several campaign speeches, and it appears on his Facebook page. The Republican presidential nominee and his wife, Ann, are fans of the series, which ended its five-year run on NBC and DirecTV last year. Romney said in Iowa earlier this week that the phrase is "compelling." "That's Americans," he told an audience. "We have clear eyes — we know what we believe. Full hearts — we love this country and we can't lose. This is a time for Americans to make a choice. We're going to take back this country."

But the low-rated, critically acclaimed series set in a Texas town dominated by football also featured several themes that might not necessarily be approved by a Romney administration. Among them: a character (Madison Burge) goes through with an abortion late in the show's fourth season. The decision follows a one-night stand the character had with a football star (Matt Lauria), and it is the school's principal Tami Taylor (Connie Britton) who guides the student through the decision process.

Another theme explored in the series is that of military parents. A character (Zach Gilford) is raised by his ailing grandmother after his mother departs, and his military father shows little sign of caring for his son.

In the letter, Berg challenges Romney and says that invoking the phrase "falsely and inappropriately associates Friday Night Lights with the Romney/Ryan campaign."

Berg is an outspoken Barack Obama supporter, as well as a successful writer-director (Battleship, Hancock). But in an interesting twist, Buzz Bissinger, who wrote the popular book about an Odessa, Tex, high school football team that formed the basis for the movie and TV series, recently wrote that he's supporting Romney.

[crippled_avenger]

U sklopu priprema za CLOUD ATLAS pogledao sam AIR DOLL Hirokazu Koreede, u kom Doona Bae igra lutku koja oživi, vrlo slično CLOUD ATLASu gde igra osvešćenog androida. Pretpostavljam da CLOUD ATLAS neće imati toliko prostora da se Doona Bae razigrava glumački ali je ona na tu temu zaista sve rekla u Koreedinom izuzetno zanimljivom filmu. Njena rola je u centru ovog filma i upravo je ona razlog zbog kog AIR DOLL uspeva da prevaziđe sve svoje padove na nivou ritma, krize u vođenju priče i sl.

Na kraju spoj briljantne glumačke igre Doone Bae i intrigantne tačke zapleta čine da AIR DOLL bude vrlo atmosferično i zadovoljavajuće iskustvo. Ova premisa nije po prvi put dotaknuta u AIR DOLLu ali mi se čini da ju je Koreeda najživopisnije iskoristio i ponudio najzaokruženije delo. Najznačajniji domet je prvo besprekorno integrisanje glumice i lutke u izgradnji lika Nozomi,  izuzetno jednostavna rešenja kojima Koreeda uspostavlja svoju pripovedačku konvenciju unutar premise koja je bajkovita i izuzetno delikatna u svakom smislu.

S druge strane, ako imamo u vidu Koreedin tradcionalni modus operandi, i uopšte očekivanja koja bi se od ove forme mogla imati, AIR DOLL je zapravo prilično dinamičko ostvarenje, sa izgrađenom elegičnom crtom i izvanrednom realizacijom.

* * * 1/2 / * * * *

[crippled_avenger]

Kathryn pravi belaja & psuje Alaha, ali ja sam ipak spreman da joj oprostim...

http://www.dobanevinosti.blogspot.com/2012/10/zero-dark-thirty-jos-dva-meseca.html

[crippled_avenger]

Pogledao sam SAFETY NOT GUARANTEED Colina Trevorrowa, indie SF romantičnu komediju sa ovogodišnjeg Sundancea koji je bio neobično SF-heavy. Uopše, čini se da je Sundance poslednjih godina krenuo da radi na tome da preporodi ozbiljan SF kroz indie prizmu, setimo se neobičnog filma ANOTHER EARTH.

Trevorrow je snimio jedan od onih indie filmova koji mogu da igraju u multipleksima, dakle vrcaju od humora, efikasno su pripovedani i ono što je u njima neobično adaptirano je da obogati kanon repertoarskog filma a ne da bude moneta za merenje oneobičenosti. U tom pogledu, SAFETY je odličan showcase za scenaristu Dereka Connellyja, a reditelj Trevorrow pokazuje kako ima velike mogućnosti ali se postavlja pitanje u kom pravcu bi njegova karijera dalje mogla ići, da li je put komedija, romantične priče ili neobičan SF.

Međutim, bez ikakve sumnje SAFETY NOT GUARANTEED služi kao odskočna daska za bioskopsku karijeru televizijske zvezde Aubrey Plaze koja je u ovom filmu pokazala da može da iznese ceo film kao glavna glumica i da pored smisla za humor ima i izuzetnu karakternu ubedljivost. Ostatak glumačke ekipe je odličan ali čini se da je Audrey ta koja sa ovim filmom najviše postiže na gloalnom planu unapređenja statusa.

Jedini krupniji nedostatak filma je samo zaključenje koje samo po sebi nije sporno ali je za nijansu manje pametno od ostatka dešavanja. U tom pogledu kao romantična komedija na ttemu putovanja kroz vreme HAPPY ACCIDENTS ostaje kao znatno snažniji primer jer uspeva da održi nivo do samog kraja.

* * * 1/2 / * * * *

[crippled_avenger]

NYFF Dispatch: With 'Flight,' the Festival Caps a Spiritual 50th Year

Denzel Washington in "Flight." Paramount
The New York Film Festival has chosen to acknowledge the landmark moment of its 50th year with paragons of the medium, none more pronounced than its closing-night selection. Robert Zemeckis hasn't made a live-action feature since 2000's "Cast Away," which makes it appropriate that his return to the form, "Flight," also involves a plane crash and grand themes of regret and reconciliation centered around a dedicated lead performance. Now he has made another Hollywood spectacle, this one far sturdier.

"Flight" soars above "Cast Away" with a more fully realized calibration of suspense, entertainment value and emotional payoff. Slickly paced and carried by mature performances, "Flight" embodies one of the finer strains of Hollywood filmmaking in recent years. In a larger sense, it figures into a portrait of global cinema that has felt especially complete at this year's NYFF.

Beyond its impressive special effects (a touchstone of Zemeckis' career), "Flight" foregrounds movie stars in firm control of their material, particularly its leading man: Denzel Washington delivers one of his most astute roles in years as Captain Whip Whitaker, the alcoholic pilot of a doomed plane who manages to land it in a spectacular feat before dealing with the investigation into his culpability. Zemeckis' tight direction jives nicely with John Gatis' long-admired screenplay, resulting in a stylishly engaging character study with bold stabs at big ideas.

The last five words of the previous sentence could equally apply to Ang Lee's "Life of Pi," which opened the 50th edition of the New York Film Festival. "Flight" closes it with another overtly spiritual movie about men in search of meaning behind the cruelties afflicted upon them. Both "Life of Pi" and "Flight" directly invoke religion, a distinguishing aspect that may testify to their commercial viability as well as the foolhardy ingredients of the classic redemption story.

But where "Life of Pi" celebrates the possibilities of faith in a higher authority, "Flight" sublimates its dogma into a shrewd narrative about surviving addiction and coming to grips with the imperfections of human behavior. As a studio product, "Flight" broadly emphasizes concepts with noticeable currency in contemporary culture and visible throughout this year's program.

"Holy Motors."
In the span of less than a month, NYFF has unveiled a wide variety of international cinema, but nearly all of it has been haunted by death. The specter of colonialism hangs over the Portuguese films "Tabu" and "The Last Time I Saw Macao," where characters both real and imaginary face untimely deaths. The French-Algerian war casts a shadow on the young revolutionaries of Olivier Assayas' "Something in the Air," while the Civil War imbues each scene in Steven Spielberg's "Lincoln" with a grim atmosphere. Leos Carax's "Holy Motors" includes more than one solemn death scene as well as an abstract form of wonder for the fragility of life, while "Leviathan" assumes the perspective of dead fish.

Despite such dour connective tissue, each finds a source of catharsis in the power of movies to explore this timeless inevitability. In a world still recovering from global financial collapse, crippled by ferociously partisan ideologies and murky predictions about our future prospects, the pervasively dour temperament makes sense. Even the expensive studio movies acknowledge as much while striking a tentatively positive note.

In "Flight," Whip deals with his role in an incident that killed six people and constantly tries to bury his guilt. "Whose god would do this?" asks Washington's character as he spends most of the running time trying to evade responsibility for his actions. These include the lines of coke he does before his ill-fated flight and the homemade mimosa he cooks up during it. In between those moments, he navigates choppy weather with ease, establishing the no-nonsense piloting skills that enable him to land the damaged aircraft in a field through a near-miraculous moment of acrobatic versatility.

Using mainly close-ups and a somersaulting camera, Zemeckis constructs as tense a crash sequence as the big screen has ever displayed. Frontloaded with the power of this brilliantly suspenseful moment, "Flight" speeds into a prolonged story of its fallout: While hiding from the public eye, Whip deals with inquiries into his private life while forming a relationship with alienated junkie he meets at the Atlanta hospital where he recovers from the crash. Their ensuing drama has a tacked-on quality that never fully syncs with the rest of the material, although it's among several ingredients used to expand on Whip's alcohol problems and the perilous hubris involved in his ongoing attempts to disguise them.

As the institutional interest in his life heats up, Whip gets increasingly candid with the muted lawyer (Don Cheadle) tasked with keeping him out of jail; John Goodman surfaces in a couple of scenes as a hilarious fixer able to keep Whip comfortably shrouded from media scrutiny. Gatis' sharp screenplay nimbly juggles these various characters by foregrounding Whip's undulating problems with addiction. Zemeckis moves the proceedings along by relying on calculated music cues ranging from the Rolling Stones to the Red Hot Chili Peppers (as well as recurring use of Traffic's "Feelin' Alright," the de facto theme song) in addition to Washington's evident commitment to the material.

The movie is notably not about the crash but rather the transformative power of a single cataclysmic event. For obvious reasons, "Flight" has post-9/11 demons in its DNA, but reflects the temperament of the current era to make peace with darkness and soldier forward to a better tomorrow. That's an undeniably cheeky takeaway rendered in somewhat distractingly obvious terms with an overly familiar tell-all monologue in its concluding moments. But there's nevertheless a welcome form of comfort that can be derived from its blatant sentimentalism. Viewed in the context of the festival, "Flight" epitomizes a dogged willingness to convey hope for the future while acknowledging the possibility of more dark days ahead. It's a good way to go out.

Criticwire grade: B+

HOW WILL IT PLAY? Paramount opens "Flight" on November 2, right in the heat of Oscar season, where it's a definitive candidate for several major prizes -- particularly for Washington's performance and Gatis' screenplay. It should satisfy audiences in search of top-caliber studio fare during the fall season and perform decently during its initial weeks of release.

[crippled_avenger]

Flight: New York Film Festival Review
The Bottom Line

Denzel Washington excels as a pilot whose heroics hide a very dark side.

Cast: Denzel Washington, Don Cheadle, Kelly Reilly, John Goodman, Bruce Greenwood, Brian Geraghty, Tamara Tunie, Nadine Velazquez, Peter Gerety, Garcelle Beauvais, Melissa Leo

Director: Robert Zemeckis
Denzel Washington stars in the Robert Zemeckis drama about an airline pilot who saves dozens of lives but faces prison because of drugs in his system.

After 12 years spent mucking about in the motion capture playpen, Robert Zemeckis parachutes back to where he belongs, in big-time, big-star, live-action filmmaking, with Flight. A gritty, full-bodied character study about a man whose most exceptional deed may, ironically, have resulted from his most flagrant flaw, this absorbing drama provides Denzel Washington with one of his meatiest, most complex roles, and he flies with it. World premiering as the closing night attraction at the 50th New York Film Festival, the Paramount release will be warmly welcomed by audiences in search of thoughtful, powerful adult fare upon its Nov. 2 opening.
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Onscreen for nearly the entire running time, Washington has found one of the best parts of his career in Whip Whitaker, a middle-age pilot for a regional Southern airline who knows his stuff and can still get away with behaving half his age. In the film's raw opening scene, he's lying in bed in Orlando at 7 a.m. after an all-night booze, drugs and sex marathon with a sexy flight attendant. With a little help from some white powder, he reassures her they will make their 9 o'clock flight for Atlanta.

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The gripping 20-minute interlude that follows has in every way been brilliantly orchestrated by Zemeckis and will mesmerize and terrify audiences in a manner that will make the film widely talked about, a must-see for many and perhaps a must-avoid for a few. The 102 passengers strap in for what could be bumpy flight; the weather looks awful. Rain is pelting down and the sky is dark but it's all in a day's work for Whip, who settles into the cockpit and greets a new co-pilot (Brian Gerety), while also sneaking two bottles' worth of on-board vodka into his orange juice.

With his night's companion Katerina (Nadine Velazquez) working the passenger compartment, Whit zooms up into the clouds, shaking up the passengers and scaring the co-pilot as he rams at top speed toward a pocket of clear sky. Having achieved momentary calm, Whit actually falls asleep at the controls but not for long; the jet loses its hydraulics and suddenly plunges into a uncontrolled descent, its engines on fire. After lowering the landing gear and dumping fuel, Whip freaks everyone out, and creates total chaos on board, by inverting the plane, manually forcing it to fly upside down to achieve some stability on the way down before righting the ship at the last minute to attempt an emergency landing in a field.

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This breath-shortening sequence is eye-poppingly realistic, with cutting Eisenstein would have admired, right down to the exquisite details of Jehovah's witnesses scrambling to get out of the way on the ground as the plane's wing clips the steeple of their rural church. Miraculously, the plane lands more or less intact, although six people die. For his part, Whip is hospitalized with minor injuries. His daring and ingenuity having saved most of the passengers from certain death, he becomes an immediate national hero.

But this is not a role Whip is keen to embrace. Depressed to learn that Katerina was among those killed, he's visited by old flying buddy and now pilot's union rep Charlie Anderson (Bruce Greenwood), as well as by his Lebowski-world drug dealer Harling Mays (John Goodman), whom he instructs to keep the vodka away. At the same time, Whip meets red-headed Nicole (Kelly Reilly), an addict hospitalized after an o.d., with whom he develops a certain affinity.

Anxious to avoid the lurking media, Whip slips away to his family farm to hide out. The property belonged to his grandfather, his father's Cessna in which Whip learned to fly is still in the barn and the cabinets are full of booze, which he methodically pours out. If he could stay here forever, unmolested and unnoticed, you suspect he would. But a tempest of trouble awaits him in the real world, as he learns what he already had to know; toxicological tests have revealed the booze and coke in his system at the time of the crash, which could result in serious prison time.

VIDEO: Denzel Washington's 'Flight' Trailer Hits

From this point on, the original screenplay by John Gatins (Coach Carter, Dreamer, Real Steel) closely charts the ins and outs and ups and downs of Whip's addiction, a struggle he shares part-time with Nicole. Unlike him, she has nothing to show for her life, as well as no prospects unless she shapes up once and for all. When Whip learns what's in store for him legally, he hits the bottle again just as Nicole goes on the wagon, which doesn't stop them from having a brief liaison. Her AA sessions are not for him.

Whip also resists the help of attorney Hugh Lang (Don Cheadle), a stiffly humorless man who's obviously good at his job, as he paves the way for his client to get off if he behaves himself. That, then, becomes the major question as approaches a big public hearing before the chief inquisitor (Melissa Leo), along with whether Whip can cut through his layers of self-protection and denial to finally confront his devils and the truth about himself.

The close scrutiny to Whip's internal currents cuts two ways, on the one hand investing the drama with a deeply explored and complex central character, on the other weighing it down a bit too much with familiar addiction issues for which the possible answers are ultimately limited and clear-cut. The script commendably advances the notion that Whip had the cojones to make his bold move to save the plane because he was high but then perhaps prolongs the search for exactly how he'll have to pay the price. At 139 minutes, the film takes a bit longer than necessary to do what it needs to do.

VIDEO: THR's Scott Feinberg and Todd McCarthy Chat About the New York Film Festival

But Washington keeps it alive and real at all times as a man who, a failed marriage and an estranged son aside, would seem to have had things his own way most of his life and has never been forced to take a clear-eyed look at himself. The actors hits notes that are tricky and nuanced and that he's never played before, contributing to a large, layered performance that defines the film.

(Sherlock Holmes), Greenwood, Goodman and Cheadle are all solid in functional supporting roles. As a live-action director, Zemeckis hasn't lost a step during his long layoff; even though most of the settings are prosaic and even unphotogenic—hotel and hospital rooms, downscale dwellings, conference rooms—he and cinematographer Don Burgess deliver bold, well conceived images that flatter the actors. The exceptional and seamless visual effects for the traumatic flight sequence make that experience linger and reverberate throughout the entire film, just as it does for the characters who lived through them.

Venue: New York Film Festival (closing night)

Opens: November 2 (Paramount)

Production: Image Movers, Parkes + MacDonald Prods.

Cast: Denzel Washington, Don Cheadle, Kelly Reilly, John Goodman, Bruce Greenwood, Brian Geraghty, Tamara Tunie, Nadine Velazquez, Peter Gerety, Garcelle Beauvais, Melissa Leo

Director: Robert Zemeckis

Screenwriter: John Gatins

Producers: Walter F. Parkes, Laurie MacDonald, Steve Starkey, Robert Zemeckis, Jack Rapke

Executive producer: Cherylanne Martin

Director of photography: Don Burgess

Production designer: Nelson Coates

Costume designer: Louise Frogley

Editor: Jeremiah O'Driscoll

Music: Alan Silvestri

Visual effects supervisor:

R rating, 139 minutes

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Posted: Sun., Oct. 14, 2012, 8:30am PT
New York Film Festival
Flight
By Peter Debruge
A Paramount release and presentation of an Imagemovers, Parkes/MacDonald production. Produced by Walter F. Parkes, Laurie MacDonald, Steve Starkey, Robert Zemeckis, Jack Rapke. Executive producer, Cherylanne Martin. Directed by Robert Zemeckis. Screenplay, John Gatins.
Whip Whitaker - Denzel Washington
Hugh Lang - Don Cheadle
Nicole - Kelly Reilly
Harling Mays - John Goodman
Charlie Anderson - Bruce Greenwood
Ken Evans - Brian Geraghty
Margaret Thomason - Tamar Tunie
Audiences buckle up for one kind of movie but end up strapped in for another in "Flight," director Robert Zemeckis' welcome return to live-action after a dozen years away. Serious-minded drama steers a horrifying nightmare at 20,000 feet into one man's turbulent personal struggle with his drinking problem -- and not in the jokey "Airplane!" sense, either. Denzel Washington is aces as a commercial airline pilot who pulls off a miraculous mid-air stunt while flying with a 0.24 blood alcohol concentration, only to face his demons on the ground. Pic should soar on all platforms -- except in-flight, of course.

For most alcoholics, crash-landing a jetliner would qualify as rock bottom -- reason enough to quit drinking and seek help. In the case of Capt. Whip Whitaker (Washington), however, it's just the beginning of a battle in which his greatest adversary is himself. Though technically an ensemble piece, "Flight" is as much a one-man showcase as Zemeckis' "Cast Away" was for Tom Hanks.

Back in the land of the living, after a run of performance-capture pictures including "The Polar Express" and "Beowulf," the helmer has embraced a project that depends entirely on the power of the human face -- an assignment for which Washington is the perfect co-pilot. Internalizing the angry flame he typically displays onscreen, the star undercuts his own trademark swagger with the suggestion that, for some, such cocky behavior could mask far deeper problems.

Whitaker is flying high, sleeping with a comely stewardess (Nadine Velazquez) and chasing away his morning hangovers with a line of cocaine before stepping into the cockpit, until a mechanical malfunction sends his plane into a nosedive. Judging by the cool and collected way Whitaker handles the situation, he could be the poster boy for high-functioning alcoholism. Attempting to re-create the same scenario on a simulator after the fact, no other pilot could pull off the same maneuver. And yet, had Whitaker not literally been asleep at the wheel when the plane pitched forward, maybe the entire situation could have been avoided, sparing the six lives lost in his stunning recovery move.

Few events are more visceral to experience onscreen than an airplane crash, and "Flight" ranks alongside "Fearless" and "Alive" in the sheer intensity of its opening act. But John Gatins' perceptively original script takes the rest of the story in a far different direction. For the first week or so, Whitaker vows to get sober, raiding every hiding place in his grandfather's Georgia cabin for stashed liquor bottles and pouring them down the drain. It's a symbolic gesture, but one that ultimately represents little more than wasted money for a man so hooked on hooch that within a few scenes, he's sucking down Stoli vodka straight from its half-gallon jug (while driving, no less).

Enter a number of concerned supporting characters -- figures essential to Whitaker's journey and yet dwarfed by the dominant attention Zemeckis pays his deeply conflicted protag, through whose eyes we experience all but an early digressive scene setting up Nicole (Kelly Reilly), a lovely yet self-destructive masseuse. Nicole stands the best chance of getting through to Whitaker, though her efforts could backfire, as one more O.D. would certainly be fatal. It doesn't help that Whitaker's dealer (John Goodman, channeling "The Big Lebowski's" laid-back Dude) repeatedly swoops in with fresh supplies.

Whitaker's near-constant, never-glamorous state of intoxication has long since alienated him from his ex-wife (Garcelle Beauvais) and estranged son (Justin Martin, who leaves a strong impression in two scenes). The only other friend in his corner is old service buddy Charlie Anderson (Bruce Greenwood), now a rep for the pilots' union, who's put in the tricky position of wanting to remain loyal to Whitaker even as blood tests reveal criminal levels of intoxication.

While Whitaker works through his personal issues, an imposing investigation into the crash looms. As corrupt back-room negotiations build to a hearing, overseen by a no-nonsense Melissa Leo, in which Whitaker can all too easily lie his way off the hook -- assuming his newfound sobriety doesn't backfire, assuming he can stay sober long enough to get through it. (Looks like he picked the wrong week to stop drinking.)

The procedural mechanics matter less to Zemeckis than what Whitaker is experiencing at any given moment, evidenced by the way Don Burgess' elegant live-action lensing never feels detached from the character. By this point in the story, even those who've fully identified with Washington's prickly yet impressively accessible performance can't help but view him as some kind of monster, albeit a tragic one. Everything, from the tormented look in Washington's eyes to the empathetic strains of Alan Silvestri's score, begs for Whitaker to redeem himself in that moment, and yet, Gatins has written such a captivatingly compromised antihero, this final moment of truth plays as gripping as the airplane disaster that started things off.
Camera (Deluxe color, widescreen), Don Burgess; editor, Jeremiah O'Driscoll; music, Alan Silvestri; production designer, Nelson Coates; art director, David Lazan; set decorator, James Edward Ferrell; costume designer, Louise Frogley; sound (Datasat/Dolby Digital), William B. Kaplan; sound designer, Randy Thom; supervising sound editor, Dennis Leonard; re-recording mixers, Thom, Leonard, Dennis Sands; special effects supervisor, Michael Lantieri; visual effects supervisor, Kevin Baillie; visual effects, Atomic Fiction; stunt coordinator, Charlie Croughwell; associate producer, Heather Kelton; assistant director, Dana J. Kuznetzkoff; second unit director, Steve Starkey; casting, Victoria Burrows, Scot Boland. Reviewed at Paramount Studios, Los Angeles, Oct. 11, 2012. (In New York Film Festival -- closer.) MPAA Rating: R. Running time: 138 MIN.
With: Nadine Velazquez, Peter Gerety, Garcelle Beauvais, Justin Martin, Melissa Leo.

[crippled_avenger]

Mislio sam da je Timur Bekmambetov i da neće tako lako upasti u klopku evropskih reditelja sklonih fantastici koji sanjaju o tome da uče Amerikance tome kako se pravi film i bira zanimljiva tema. Nažalost, Timur se poneo kao prosečan srpski reditelj u svojim sanjarenjima u Holivudu i posle realno postavljenog WANTEDa u kome je uspeo da pruži dosta toga novog Holivudu ali i da ostane u domenu tamošnjeg profesionalizma, u filmu ABRAHAM LINCOLN: VAMPIRE HUNTER snima potpuni fijasko kakav se zbilja retko sreće.

Ovaj skupi holivudski film izgleda slabije budžetirano i u svakom smislu lošije realizovano od Timurovih ruskih filmova a neuporediv je u odnosu na WANTED. Kad je reč o vođenju priče, ono je izuzetno problematično i Timur dopušta da koncept alternativne istorije u kome je Lincoln lovac na vampire deluje pre svega irelevantno, bez sposobnosti da zabavi, šokira ili bar naljuti.

Glumačka podela je izuzev Mary Elizabeth Winstead upadljivo drugoligaška i antipatična.

Seth Grahame-Smith je imao mnogo više sreće pišući DARK SHADOWS nego sa ovom ekranizacijom vlastitog romana. Međutim, oba posla su se na kraju bili promašaji.

[crippled_avenger]

Review: 'Flight' takes Robert Zemeckis and Denzel Washington on an unexpected trip

An unsparing look at a life spent in free-fall marks new territory for director and star

By Drew McWeeny Tuesday, Oct 16, 2012 4:30 AM

    Critic's Rating A-
    Readers' Rating n/a

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<p>Denzel Washington may look like he's holding it together in the new Robert Zemeckis film 'Flight,' but he's hiding some serious pain behind those shades.</p>

Denzel Washington may look like he's holding it together in the new Robert Zemeckis film 'Flight,' but he's hiding some serious pain behind those shades.
Credit: Paramount Pictures
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Robert Zemeckis has never made anything like "Flight," and Denzel Washington has rarely played a character this damaged.  I frequently feel like studio movies arrive somewhat predigested because of how many times we've seen variations on the same basic formulas, and when you do run into something that takes its own path, that tells its own story in a way you're not expecting, it can be positively shocking.

I remember seeing Spike Lee talk about the making of "Mo' Better Blues," and one of the things that he said made the film difficult to shoot was a firm rule from Denzel Washington that he did not want to do any elaborate love scenes or any sort of onscreen nudity with a female co-star because of his own offscreen marriage.  As good as he is, there's often a sense that he's holding back something, that he is careful about his image.  It's the sort of thing that I think often affects Will Smith's choices as a movie star as well, and it can be hard to let go of after you've lived with it for a long time.  I couldn't help but think about that when we first see Denzel in this film, in bed with Nadine Velazquez, finishing a beer for breakfast and doing a rail to wake himself up as she walks around the room totally nude.  At one point, he gives a sideways glance right up her backside as he talks on the phone, and there is a world weary quality to the beat that is both funny and immediately crushing.  This is the sort of performance where there's no personal vanity involved, and there's no thought of Denzel as Denzel.

Whip Whittaker is a high-functioning mess, a great pilot with a terrible life, and at the start of the film, he reports to work still drunk and high from the night before.  He spent the night with one of his flight attendants, and we get the feeling he's just conducting business as usual.  We see that he's flying with flight crew he knows well and a co-pilot he's never met before (Brian Geraghty), and most of them know exactly what kind of person he is.  He naps during the flight, sneaks several mini-bottles of vodka into his orange juice, and generally unnerves his co-pilot.  Still, everything seems fine until they get ready to start their descent.

Unsurprisingly, Robert Zemeckis turns the harrowing plane crash that follows into one of the year's most nerve-wracking sequences, expertly staged and horrifyingly imagined.  In the middle of the chaos, Whip responds with a presence of mind and a calm that is almost miraculous, and he pulls a one-in-a-million move that allows him to make a mostly successful landing even as the plane comes apart around him.  Everything about the sequence is masterful, from performance to direction to sound and visual effects.  It's powerfully staged, and like many of the best sequences in Zemeckis's filmography, it marries cutting edge technology to performance to create something that feels real.

What surprised me about the film is that the plane crash is just the start of the story for Whip.  When he wakes up in the hospital, amazed that he's alive, he quickly learns that there are both pros and cons to what happened.  The pro is that he saved all but six people onboard the plane, and his quick thinking managed to do something that should have been impossible.  The con is that his blood toxicology reports show that he was smashed during the flight.  And while most people would take that as a sign to change their ways, Whip has no sense of self-preservation, and if anything, he accelerates his slide into self-destruction.

Obviously, there is a long tradition of films about addiction and rehab, and if "Flight" was just a story about a guy struggling with the bottle, that would be a fairly routine take on the material.  Instead, Whip is treated as an individual, not an emblem of addiction.  His struggles are personal, and there is a real ugliness to much of what we see from him.  No matter how much people like his union rep (Bruce Greenwood) or his lawyer (Don Cheadle) try to help him, he's not interested.  He practically welcomes rock bottom.  When he does reach out to someone, it's a junkie named Nicole (Kelly Reilly) who he meets in the hospital, and it's at least in part because he figures she's just as big a mess as he is, so there's no way she's going to judge him.

Zemeckis has had several different incarnations as a filmmaker.  I love the early crazy Zemeckis/Gale years and movies like "Used Cars" and "Romancing The Stone."  Obviously, the "Back To The Future" films and "Roger Rabbit" represent the technical wizardry that was a big part of how he was defined.  There was a stretch of his filmography where it felt like he was trying to figure out how to marry the technical mastery of his earlier work with new subjects, and no matter how you feel about "Forrest Gump" or "Death Becomes Her" or "What Lies Beneath" or "Cast Away," they are fascinating next steps for him as a filmmaker.  His left turn into the world of performance capture animation was responsible for "Beowulf," "A Christmas Carol," and "The Polar Express," and while I don't think any of them work fully as films, I love the way he committed to the storytelling form and helped push it forward for other filmmakers, many of whom feel like they are still catching up to what he did.

For my money, though, the last time I felt completely satisfied by a Zemeckis film was "Contact," based on the Carl Sagan novel, and I think it has some things in common with "Flight."  Both are films about people who have no place in their lives for a belief in a higher power, people who are extraordinary in many ways but who seem unable to make their personal lives work in the same way their professional lives do.  "Contact" basically asked if an extraordinary person was excused for personal failings if it turned out they were right, and "Flight" asks if being exceptional at one thing is enough to justify an almost total failing as a human being in other regards.  Zemeckis seems drawn to the notion of people who are gifted and driven but who are unable to handle even the basic rules of social conduct.

Frequent Zemeckis collaborators like cinematographer Don Burgess and composer Alan Silvestri turn in wonderful nuanced work here, and the entire cast is on their game.  John Goodman has a showy smaller role as Whip's dealer, and it is a testament to just how well the film walks a moral tightrope that there is a moment in the film where the audience is actively rooting for Denzel to do enough cocaine that he will be okay to testify at an FAA hearing, with the audience laughing at every joke Goodman delivers.  Even in small roles, actors like Melissa Leo, Tamara Tunie, and Garcelle Beauvais do very good work.  James Badge Dale has only one scene in the movie, but it's a knockout, a late-night encounter in a hospital stairwell between him, Whip, and Nicole, and it was right around the end of that scene that I handed myself over to John Gatins and his script.  My main reference point for Kelly Reilly are her largely thankless appearances in the two "Sherlock Holmes" films as Watson's wife, but she has a credible air of rumpled, bruised beauty here, and she never became the easy angel that I was afraid the film would try to make her.  Washington has to carry the whole film.  If he doesn't work in the movie, the movie doesn't work.  Period.  This is the sort of raw nerve work that I love, and Washington lays himself out there with his choices.  There's a moment where he tries to visit his ex-wife and his 15-year-old son that is as emotionally raw as anything I've seen in a film this year, and I love the choices he makes in that scene.  He doesn't do anything I expected, and it's that unexpected quality to his choices that make him so compelling even when he's being an awful human being. 

While I think the film's music supervisor hobbles the film with some brutally on-the-nose choices (there should never ever ever ever be a scene with someone shooting heroin while the Velvet Underground plays in any film ever again), and the last few minutes of the film try to put too neat a bow on what is otherwise a complex character piece, for much of its running time, "Flight" represents exactly the sort of smart, direct adult filmmaking that we frequently complain Hollywood is incapable of producing anymore.

It has been too long since we've seen Robert Zemeckis swing for the fences, and his return to live-action turns out to be one of the most heartfelt and human movies of his career.

"Flight" opens in theaters everywhere on November 2, 2012.

[crippled_avenger]

Pogledao sam SOUND OF MY VOICE žanrovski indie film koji dolazi iz slične kreativne atmosfere kao i ANOTHER EARTH. Brit Marling koja je pisala i glumila u ANOTHER EARTH ovde ponavlja te funkcije ali je reditelj drugi i Zal Batmanglij je uradio sjajan posao.

SOUND OF MY VOICE je minimalistički, kamerni, triler sa određenim elementima fantastike u kome Zal Batmanglij postiže izuzetne efekte kroz izvanrednu glumačku igru i stvaranje atmosfere u svedenim ali izuzetno sugestivnim ambijentima. SOUND OF MY VOICE spada u red onih američkih nezavisnih filmova koji potvrđuje da kinematografija koja snima najskuplje filmove istovremeno pravi i najbolje niskobudžetne filmove na svetu.

Stepen rediteljske veštine i artikulacije koju donosi Zal Batmanglij je izvanredna i postiže neverovatno mnogo sa vrlo malo sredstava. Za razliku od suštinski vrlo sličnog SAFETY NOT GUARANTEED koji je multiplex-ready komedija na temu ljudi  koji tvrde da su iskusili putovanje kroz vreme, SOUND OF MY VOICE je hermetičniji i beži od zahvata koji bi ga približili masovnoj publici. Međutim, Batmanglij uprkos delikatnosti nekih poteza i rešenja pravi film koji je jasan i zapravo vrlo nepretenciozan zato što se likovi dotiču pretencioznih pitanja ali ne i sam film.

U izbegavanju jeftinih rešenja, na kraju SOUND OF MY VOICE posustane i završi se kako se i očekivalo. Ponovo, sličan problem kao i u SAFETY NOT GUARANTEED s tim što mislim da je "slab" kraj u SAFETY ipak hrabriji.

* * * 1/2 / * * * *

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"Snow White And The Huntsman" director Rupert Sanders is making a deal to helm "The Juliet" for Sony Pictures and New Regency says Deadline.

An adaptation of Alfred Bester's short story, the tale is described as "Bonnie and Clyde in space", or the even more vague "romance set against the backdrop of a futuristic science fiction landscape".

Henry Bean adapted the script while Chuck Roven, Alex Gartner and Frank Beddor are producing. Shooting aims to begin in the Spring.

Sanders was linked to the "Van Helsing" reboot at Universal the other week, no word as yet as to how this announcement will affect that project.

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Marvel's miniature hero "Ant-Man" has finally set a date to make his big screen debut - November 6th 2015.

Disney has just issued a press release about various films on their upcoming schedule with the big news being that release date for the Edgar Wright-directed adaptation. The project will join "The Avengers" sequel in May as Marvel's two films for 2015.

Disney has also confirmed both of its Marvel 2013 movies - "Iron Man 3" on May 3rd and "Thor: The Dark World" on November 8th - will be available in 3D.

Finally there's the news that the "Phineas and Ferb" movie has been pushed back to 2014 from a previously announced Summer 2013 date.

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Otišao je Vlasta Radovanović, najbliže što je jugoslovenski film prišao autoru B-filma...

http://www.dobanevinosti.blogspot.com/2012/10/vlastimir-radovanovic-1926-2012.html

[crippled_avenger]

Pogledao sam THE SUPER COPS Gordona Parksa, jedan od ključnih policijskih filmova sedamdesetih. Iako već pre ovog filma iz 1974. godine imamo primere filmova koji su bili preteča talasu buddy cop filmova, ovaj je bitan po tome što je govorio o istinitim događajima i partnerstvu Dave Greenberga i Robert Hantza, dvojice njujorških policajaca koji su prozvani Batman & Robin po svom avanturističkom duhu i ogromnom broju hapšenja koja su izvršili.

Parksov film ima u sebi nešto underground vibracija tadašnjeg Njujorka i čitav hippe cops motiv u svojoj razbarušenosti. Parks dinastija je bila značajna okosnica blaxploitationa, i THE SUPER COPS ima dosta crnih likova iako su policajci / pozitivci isključivo belci, no zbog Parksa bih ga definitivno ubrojao u blaxploitation. Uostalom, ako se filmovi mogu po konceptu glumačke podele ubrojati u taj talas, onda mogu i po reditelju, kao vrlo značajnom elementu identiteta filma.

Parks nažalost ne uspeva da napravi efikasnu celiku. THE SUPER COPS je epizodičan, površan i jedva da postoji neki generalni konflikt koji ga drži kao celinu. Svojevrsni negativci Braća Hayes se javljaju kao lajtmotiv ali akcije su repetitivne i često krajnje digresivne. Parks na nivou scena ima nekih briljantnih rešenja ali i ona variraju u rasponu od dobro rešene komedije do istinski napete akcione scene tako da se na kraju ni njegova rediteljska ekspertiza ne može tačno stilski i žanrovski odrediti u ovom filmu.

THE SUPER COPS je značajan film koji nažalost za razliku od mnogih filmova iz tog vremena nije ogledalo sedamdesetih kao krunske decenije u istoriji američkog filma.

* * 1/2 / * * * *

[crippled_avenger]

Pogledao sam LOOPER prvi film Riana Johnsona posle koga sam pomislio da taj čovek ipak ima nekog talenta. Posle BRICKa i BROTHERS BLOOMa delovao mi je kao nekakva indie senzacija koja voli da čeprka po žanru ali nema tačnu ideju čime bi ga dopunio i obogatio. U tom smislu LOOPER je pre svega dobar kao izvanredan B-film, i counter-programming mekšim žanrovskim sadržajima, i rekao bih da kroz podelu Johnson sugeriše kakav film želi da pruži - uparujući Nolanovog Joseph Gordon-Levitta i Bruce Willisa kog su oblikovali razni majstori. U tom smislu, rekao bih da je Willis kod Johnsona možda najbliži Willisu iz Hillovog LAST MAN STANDINGa pa je i sam LOOPER zapravo na razmeđi tog soft-smart nolanovskog pristupa i spoja vesternizovanog urbanog krimića sa elementima urbanizovanog vesterna kojim se Hill bavio.

Kao što je Hill u LAST MAN STANDINGu stvarao taj efekat da su junaci gansterskog filma zalutali na set nekog vesterna, tako i ovde Johnson uspeva da napravi efekat kako su junaci iz nekog futurističkog krimića zalutali na set vesterna ili krimića iz sedamdesetih, i to je pravac koji u ovom slučaju meni lično nije prijao, ali to je sad zaista stvar ukusa i potpuno sam uveren da ima ljudi kojima će to biti jedan od glavnih aduta filma.

S druge strane, na nivou ritma, Johnson nikada ne gubi kontrolu i zamajac ali se film bitno strukturalno izmeni u drugoj polovini što stvara određeni utisak nesklada, doduše vrlo blag.

Hronomocija je u LOOPERu postavljena dosta jednostavno, igra značajnu ali ne i presudnu ulogu tako da i neke nelogičnosti, od kojih je jedna očita na nivou same premise, u principu ne smetaju. U jednoj sceni infodumpovanja, Willisov lik doduše i kaže da ne treba lomiti glavu oko toga kako to sve funkcioniše.

Naravno, LOOPER je hajpovan preko svake mere, i u principu ne treba se obazirati na najave kako je ovo nešto najpametnije i najuzbudljivije ikada jer nije. Ali je ovo jedan pošten B-film, sa A-dometom, dosta smisla za humor, odličnom glumačkom podelom, solidno postavljenom pričom i dovoljnom količinom originalnosti.

LOOPER nije bio preskup film i uprkos tome što u njemu ima dosta akcije, dosta lokacija, dosta raznih stvari, on se ipak kvalifikuje kao "mali" film. U tom pogledu, čini mi se da Johnson zapravo mora da uposli svoje krajnje rediteljske moći da bi sve to obuhvatio i sredio što znači da još nije spreman ili bar ne izgleda da je spreman za neki kompleksniji zahvat ili film većih pretenzija na nivou obima priče i likova. Ali, svakako da posle LOOPERa, odaje utisak reditelja koji nije za potiskivanje kako se činilo posle BRICKa i BLOOMovih.

Kada se pojavi kineska verzija sa dužim šangajskim segmentom rado ću je pogledati.

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Pogledao sam TV film SHATTERED SILENCE, ekranizaciju romana Johna Farrisa, koju je režirao Philip Leacock, sa jednom od ranih uloga u opusu Michaela Douglasa, kada je bio na samom početku, neopredeljen da li je glumac ili producent. Nezavisno od Douglasa, SHATTERED SILENCE spada među najznačajnije horore u istoriji TV filma i čini mi se da je ta reputacija nezaslužena. Doduše, verovatno da deo prevaziđenosti ovog TV filma proističe iz toga što je snimljen 1972. godine kada ovaj vid priče o psihopati koji uznemirava građane telefonom nije bila toliko potrošena. Četrdeset godina kasnije, to sve deluje potpuno irelevatno, ali nezavisno od prevaziđenosti premise koja se često javlja kao problem kod starih filmova, ovde nemam utisak o nekim drugim kvalitetima.

SHATTERED SILENCE je bio prisutan i pod naslovom WHEN MICHAEL CALLS. Po ovom drugom naslovu je i poznatiji ali je kopija koju sam gledao imala naslov SHATTERED SILENCE. Ne znam da li su pod različitim naslovima išli različiti cutovi pošto film varira u trajanju sudeći po literaturi ali ovo što sam ja gledao deluje kao "duža" verzija.

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Stari Kadar o starim majstorima, pre svih o jednom od najvećih!

http://www.citymagazine.rs/u-vazduhu/urban-flash/4081/dimitrije-vojnov-rok-trajanja/

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Pogledao sam THE CAMPAIGN Jay Roacha i moram da priznam da me je ovaj film pre svega u estetskom pogledu izuzetno razočarao. Sa MEET THE PARENTS se Roach nametnuo kao jedan od sofisticiranijih reditelja u svetu Brat Pack komedija i izdvojio se u odnosu na puke realizatore. Kasnije je iskoračio iz sveta komedije u svet političkog filma sa HBO radovima RECOUNT i GAME CHANGE a THE CAMPAIGN je u izvesnom smislu neka mešavina te dve vrste filma - Brat Pack star-driven filma i političke satire. Nažaslot, Roachov film je u rediteljskom smislu na nivou sitkoma u kome ni Will Ferrell ni Zach Galifianakis na kraju niti imaju punokrvne star turnove niti su postavljeni u funkciju neke ozbiljnije ideje. Kada se tome doda činjenica da se THE CAMPAIGN zapravo bazira na nizu opštih mesta o pokvarenosti i neobrazovanosti američkih političara, ali da na kraju ne samo da ne dovodi u pitanje funkcionisanje sistema već unutar njihovog ličnog besmisla nalazi način za iskupljenje, THE CAMPAIGN deluje kao čudna para-kaprijanska budalaština koja je pitomija nego što bi čak i mejnstrim očekivao od nje.

THE CAMPAIGN nije dosadan i funkcioniše na nivou skeča, postoji niz prilično duhovitih detalja, međutim, za razliku od najuspelijih Roachovih komedija koje su imale likove i tenziju koji prevzilaze okvire pukog humora, ovaj film to nema.

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Shane Black ponovo režira, trejler za IRON MAN 3!

http://www.dobanevinosti.blogspot.com/2012/10/shane-blacks-iron-man-3.html

[Agota]

LOOPER je uzasan ,jednostavno, gubljenje vremena. 

[Albedo 0]

Одличан је ЛООПЕР! 

[Agota]

Одличан је ЛООПЕР! 

pao si na  Emily Blunt  or  wunderkid-a ??

[Usul]

Vec sama premisa lupera je zabrinjavajuca. Veoma naginje losem vicu.

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Agota, dobar je LOOPER. Ne onoliko koliko kritike tvrde, ali dobar je. B-film. Možda je želeo i više, ali je sasvim dovoljno dobacio.

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Pogledao sam JELENU, KATARINU, MARIJU Nikite Milivojevića, ekranizaciju romana Dušana Miklje koju su napisali književnik i reditelj, bez pomoći scenariste. Mislim da je na početku cele priče svakako to jedan od temeljnih problema. Naime, ovaj film je toliko prestrašno realizovan - snimljen, glumljen, insceniran - da je na neki način paradoksalno još govoriti o tome da ne valja scenario. Međutim, možda je u nekoj formi Mikljin bestseler (nisam ga čitao) eventualno i mogao da ima smisla kao film - priča o tri Srpkinje o tuđini koje imaju određene probleme zvuči kao nešto što bi moglo biti zanimljivo, naročito jer se ceo film dešava u Njujorku. Ali od te tačke kada su se producenti još u korenu cele priče odrekli bilo kakvog filmskog know howa, ne treba da čudi da je isti izostao do samog kraja.

JELENA, KATARINA I MARIJA je film kome prosto nedostaje elementarna veština na nivou onoga što bismo mogli smatrati filmskim izrazom, ne samo pripovedanjem. Jedan od osnovnih problema srpske kinematografije je to što u njoj ne postoji standard. Kod nas zbilja ne postoji standard za koji možemo da kažemo, "OK, to je neki minimum izraza na koji se može računati kod srpskih filmskih autora i saradnika". Sve je postalo jedno ogromno lutanje kroz zanat a tome u prilog ide i činjenica da su poslednji uspesi filmova poput pre svega KLIPa a zatim i TILVE ROŠ vezani za dela koja se na specifičan način odnose prema filmskoj formi i nisu tipični bioskopski filmovi.

Međutim, pošto su kod nas pristojno napravljeni filmovi kao što je recimo NEPRIJATELJ postali poptuna egzotika, a čak i vrhunski reditelji poput Dragojevića dopuštaju sebi da popuste zanatske ulare u filmovima kao što je PARADA, onda Milivojević istovremeno i jeste i nije ispod nivoa, jer nekakv nivo postoji ali nije standardizovan.

Zato neko sa smislom za humor može da kaže kako je ovo neuspeo eksperiment, a ja sam više sklon tome da kažem da je ovaj film neizbežan rezultat čitave serije pogrešnih producentskih odluka.

Ipak, ako postoji nešto što može da se uzme kao svojevrsna olakšavajuća okolnost jeste to da je JELENA, KATARINA, MARIJA snimljen dosta davno i da, čini mi se, ovakvih faulova u našoj kinematografiji ipak više nema. Ovo je film koji najviše vuče na 2005/2006. godinu, vreme kada se Dragan Kojadinović igrao Rogera Cormana i davao pare svakom projektu koji je mogao da fingira početak snimanja posle kolapsa konkursa 2005. godine. Sada su se stvari promenile, i čini mi se da će ovakvi filmovi u budućnosti moći da se javljaju samo kao relikti te ere.

Otud, ova vrsta filma više ne može da izazove čak ni bes jer naša kinematografija se izlečila od bolesti koja se javlja sa ovakvim simptomima.

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Greh iz mladosti koji sam prilično dugo pokušavao da lociram. Mislim da će se dopasti pre svega Mehmetu.

Zapečen / DRY (FDU 2002) - english subtitles on Vimeo

[Agota]

 Crip,pusti sad  loopera ,ovo je  funky ! 
Pogledajte, obavezno !!! 

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Funky House Band

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Hugh Grant has signed to star in Marc Lawrence's untitled romantic comedy at Castle Rock Entertainment reports Variety

The story centers on an Oscar-winning screenwriter now creatively washed up, divorced and broke. He takes a job teaching screenwriting at a small East Coast college, and ends up in a romance with a single mom who has gone back to school.

Filmmaker Lawrence and Grant previously worked together on "Music and Lyrics," "Two Weeks Notice" and "Did You Hear About the Morgans?". Shooting kicks off in April in New York.

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Pogledao sam ASSIGNMENT TO KILL Sheldona Reynoldsa, krimić iz 1968. godine koji je ponovo postao dostupan zahvaljujući ediciji Warner Archive. Sa autorskom ekipom i glumačkom podelom koja nije uspela da se trajnije udomi u holivudskom Panteonu, ne čudi da ASSIGNMENT TO KILL nije bio reizdavan, ili češće emitovan. Sam film nije izgubljeni klasiik, i gledaoci nisu nepovratno uskraćeni, ali je reč o vrlo atmosferičnom krimiću koji ima svoje adute sve dok se nepovratno ne iskomplikuje i postane nejasan u drugoj polovini, ne toliko zbog zamršenosti priče, koliko zbog problema u izlaganju. Uprkos svemu tome, ASSIGNMENT TO KILL ostaje zanimljiva fusnota za ljubitelje žanra.

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Pogledao sam THE GIRL, koprodukciju HBOa i BBCa o napetim odnosima Alfreda Hitchcocka i Tippi Hedren u toku rada na filmovima BIRDS i MARNIE. Ovim filmom je konačno stavljena tačka na šarmantne mistifikacije o Hitchovom seksualnom životu koje je on sam lansirao, i pokazala se dosta žalosna istina o tome koja svakako nagoveštava da su snažne seksualne frustracije oblikovale njegov opus. što je u principu bilo jasno i stoji kao osnov čitave fascinacije psihoanalitičara njegovim opusom. Međutim, intelektualizacija Hitchovih seksualnih frustracija nije u punoj meri bila opisana kroz njihovu praktičnu manifestaciju i u tome je dosta pomogla knjiga o odnosu Hitchcocka i njegovih diva, na osnovu koje je i nastao ovaj film.

U principu, u literaturi je i pre bilo poznato da je Hitchcock imao specifičan odnos najpre sa Tippi Hedren, ali ova knjiga je to razjasnila i po reakcijama Melanie Griffith na film, reklo bi se da ovaj pogled na stvari ima njen blagoslov. Inače, mala Melanie se pojavljuje kao devojčica u nekoliko scena.

Toby Jones u ulozi Hitcha je izvanredan. Verovatno će i okoreli šmirant Tony Hopkins učiniti sve što može da se dokaže igrajući ovu istorijsku ličnost, ali Toby ponovo nije inferioran u odnosu na "skupljeg" glumca kao ni u slučaju Capotea. Jones i Sienna Miller uspevaju da ubedljivo prikažu Hitchcocka i Hedren sa potrebnom doyom glumačke bravure koja je taman dovoljna da publika ipak ne zaboravi i na njihov identitet. Ali, upravo je Hitchcock kao gospodar artificijelnog filma fetišizovao svoje zvezde i ostavljao malo prostora da se njihov star power nikada ne zaboravi.

Julian Jarrold je iskusan reditelj televizijskih programa koji je radio i na filmu, i THE GIRL je u svakom pogledu izuzetno vešto i precizno realizovan film, sa dosta hičkokovske atmosfere u sebi i jasnom mehanikom akcija i reakcija među glavnim likovima. Kao i Hitchcock u svojim filmovima ni Jarrold ne preza od toga da objasni duboke motivacije i traume svojih junaka, a to sve takođe ostvaruje kroz potentne dramske situacije, detalje, nuđenje mogućnosti gledaocu da zna višpe nego junaci itd.

Neke od tehnika koje je Hitchcock usavršavao su bez ikakve sumnje postale prepoznatljiva karakteristika dobrog filma i nikada ne možemo garantovati da li je Jarrold te postupke odabrao samo zbog teme ali teško je verovati da nije mudro odabrao sve načine na koje će intervenisati na priči o čoveku koji je osmislio sve ključne načine za intervenisanje na priči.

THE GIRL je izvanredan rad i uprkos tome što HITCHCOCK dolazi sa snažim pedigreom i velikim budžetom, mislim da neće biti lako da ga nadmaši.

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North Korean army minister 'executed with mortar round'
A North Korean army minister was executed with a mortar round for reportedly drinking and carousing during the official mourning period after Kim Jong-il's death.
North Korean army minister 'executed with mortar round'
Mortar Photo: ALAMY

By Julian Ryall, Tokyo

1:55PM BST 24 Oct 2012

Kim Chol, vice minister of the army, was taken into custody earlier this year on the orders of Kim Jong-un, who assumed the leadership after the death of his father in December.

On the orders of Kim Jong-un to leave "no trace of him behind, down to his hair," according to South Korean media, Kim Chol was forced to stand on a spot that had been zeroed in for a mortar round and "obliterated."

The execution of Kim Chol is just one example of a purge of members of the North Korean military or party who threatened the fledgling regime of Kim Jong-un.

So far this year, 14 senior officials have fallen victim to the purges, according to intelligence data provided to Yoon Sang-hyun, a member of the South Korean Foreign Affairs, Trade and Unification Committee.

Those that have fallen from favour include Ri Yong-ho, the head of the army and Ri Kwang-gon, the governor of the North Korean central bank.
Analysts suggest that Mr Kim, who took over as head of state after the death of his father late last year, is acting to consolidate his own power base and deter any criticism of his youthfulness and inexperience. Mr Kim is believed to be either 28 or 29.

"When Kim Jong-un became North Korean leader following the mourning period for his father in late December, high-ranking military officers started disappearing," a source told the Chosun Ilbo newspaper. "From information compiled over the last month, we have concluded that dozens of military officers were purged."

It also appears that Mr Kim ordered his loyal officials to use the excuse of misbehaviour during the mourning period for his father to remove any potential opponents.

Other officials have been executed by firing squads, including Ryu Kyong, a senior intelligence expert.

Since being elevated to second-in-command of the nation by his father in September 2010, Kim has reportedly been behind the dismissal of at least 31 senior officials.

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Reprizirao sam THE SELL OUT Petera Collinsona i čini mi se da na ovoj restauriranoj verziji koju je napravio Warner Archive taj film bolje izgleda nego kad je izašao 1975. godine. Gledao sam ga pre dvadesetak godina na televiziji i u tim krhkim sećanjima, čini mi se da je ta TV kopija delovala znatno bleđe. U svakom slučaju Warner Archive mu je povratio snagu i Collinsonov film spada u vrh opusa ovog reditelja ali i u vrhunske "tezge" u živopisnoj karijeri Olivera Reeda. Collinson je reditelj koji je j kratko živeo i radio i nije ostavio puno iza sebe, ali u tom opusu koji je napravio ima samo nekoliko filmova koji su u potpunosti dobri, sa zaokruženom pričom i rediteljskim postupkom, dočim s druge strane u svakom od njih, Collinson pokazuje da je reditelj solidne vizuelne kulture i mašte sa razvijenim osećajem za kompoziciju kadra i tempo. Nažalost, on praktično nije uspeo da se izbori za mnogo prvologaških projekata.

Warner je stao iza THE SELL OUT ali je u osnovi to ipak izraelska koprodukcija uslovljena snimanjem tamošnjih eksterijera. Jedna jenodtsvna priča o lovu na špijuna u Jerusalimu pretvorena je u nešto komplikovano i kriptično i čini mi se da je Collinson u saradnji sa glumcima pokušao da produbi ovu priču, obogaćujući je slojevima ambivalencije i da se na tom putu donekle izgubio. Richard Widmark igra junakovog najboljeg prijatelja i drugog glavnog junaka i on je solidan kao i uvek, Reed je doneo specifičnu težinu ulozi s tim što njegova emotivna nadogradnja lika nekada savršeno funkcioniše a negde samo usporava stvari. Sam Wanamaker i Vladek Sheybal su solidni mada ipak rutinski negativci. Iako THE SELL OUT nikada ne postane potpuno apstraktan, negde pri sredini ga Collinson i glumci vežu u čvor od kog se priča nikada ne oporavi.

Ipak, pošto je ova špijunska priča smeštena u konvenciju akcionog trilera, obračuni i potere - a za autobmobilski deo je bio zadužen Remy Julienne, su izvanredni, što i ne treba da čudi od reditelja Collinsonove reputacije kome su takve stvari zaštitni znak. Uostalom on je režirao ITALIAN JOB.

Dobra glumačka podela, odlična akcija i interesantne lokacije svakako su aduti ovog filma. Međutim, u ovom periodu, postoji dosta mnogo boljih naslova u ovom podžanru.

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