The Crippled Corner

[дејан]

Prva sezona tog Gothama meni izgleda kao obična stripovska serija, namenjena za trunku stariju decu. Ništa posebno u vezi s njom....

^а на моменте је и неподношљиво досадна

[crippled_avenger]

Meho, ovo sa Netflixom je nisko čak i za nekoga moje visine


Sent from my iPhone using Tapatalk

[Ugly MF]

To i jeste poenta, samo sto sve ostale izgledaju ko jeftin cirkus,ova sve sto ima je dobro.
Steta sto si ostario, pa nemres da uzivas u seriji.

[crippled_avenger]

Mehmete ne obaziri se na ove disonantne tonove. GOTHAM je klasik koji nastaje pred nama!


Sent from my iPhone using Tapatalk

[Ugly MF]

Prva sezona tog Gothama meni izgleda kao obična stripovska serija, namenjena za trunku stariju decu. Ništa posebno u vezi s njom....

^а на моменте је и неподношљиво досадна

Ovo je čista laž!!!
Serija nema ni jednu jedinu dosadnu sekundu!!!

[Meho Krljic]

Upravo odgledao Terminator Genisys.

OMG.

Kao neka epizoda X-men iz sredine osamdesetih. Količina kampovanja prevazilazi Terminator 3 + Salvation, spojene pa pomnožene jedno s drugim. Retkonovanje od koga bi se i Geoff Johns zagrcnuo.

Nije mi žao što je ovo snimljeno.

Ali opet, ja sam bezdušan čovek s vremena na vreme.

[Ugly MF]

Krenuo jopet Agents of SHIELD...
extra epizoda, ovako se snimaju stripovi!
Serija kojoj umesto da opada i razvodnjava , kvalitet raste! Bjutiful!
A prati i univerzum filmova, svaka ćast!

[crippled_avenger]

Mehmete, mislim da će OVO biti objašnjenje imenice "gamechanger" u rečnicima...

After a lengthy auction, Netflix is close to landing the rights to Max Landis spec "Bright" with Will Smith and Joel Edgerton set to star and David Ayer on board to direct.

Several studios including Sony and Warner Bros. were the mix, but sources say Netflix will end up with one of the hotter packages in town. The deal is still in the process of being made.

Warner Bros. seemed liked the front-runner but after the deal-making stalled, reps for the project decided to shop the project to other studios.

Written on spec by Landis, plot details are unknown, but sources suggest the project will be in the vein of "End of Watch" (which was directed by Ayer) but set in a world where Orcs and fairies live among humans. Sources also say the story is not set in present day.

It's unknown when the film would get underway but the hope is to get production rolling this year in order to get both Ayer and Smith ready for a "Suicide Squad" sequel shoot by 2017.

Ayer and Smith are repped by CAA and Landis is repped by WME and Writ Large. Smith is also repped by Overbrook Entertainment.


Sent from my iPhone using Tapatalk

[crippled_avenger]

In a sign that Netflix can truly go head-to-head with the major studios when it comes to bidding wars for hot projects, the company is nearing a deal to acquire David Ayer's supernatural cop movie "Bright," which will star Will Smith and Joel Edgerton, an individual familiar with the project has told TheWrap.
Max Landis ("Chronicle") wrote the script, which follows a human cop (Smith) in a police division that handles crimes involving magic who's forced to team up with an Orc (Edgerton) to find a powerful wand.
Landis is producing "Bright" with Eric Newman and Bryan Unkeless.
Also Read: Will Smith, Joel Edgerton to Star in David Ayer's Cop Thriller 'Bright'
Netflix has committed to actually making the movie before Ayer and Smith return to Warner Bros. for a "Suicide Squad" sequel. "Bright" will receive a theatrical release under the terms of the deal, according to an insider.
Warner Bros. and Sony were early frontrunners for "Bright," which Warners going so far as to secure a California tax incentive to produce the film, but in the end, Netflix's offer trumped the other bids and the producers felt that bypassing the major studios was worth the risk.



Sent from my iPhone using Tapatalk

[crippled_avenger]

he Hollywood ReporterHEAT VISION

MARCH 09, 2016
2:18pm PT by Borys Kit, Tatiana Siegel
Netflix Buying Will Smith-David Ayer Supernatural Cop Movie 'Bright' (Exclusive)
Will Smith and Joel Edgerton are attached to star and 'Suicide Squad' helmer is David Ayer attached to direct.
Will Smith Jason LaVeris/FilmMagic; Karwai Tang/WireImage

Will Smith and Joel Edgerton are attached to star and 'Suicide Squad' helmer is David Ayer attached to direct.
In its biggest movie deal yet, Netflix is looking to get into the movie business with Will Smith and David Ayer.

The company has come out on top of the bidding war and is in negotiations for Bright, the magic-infused cop thriller package that has Will Smith and Joel Edgerton attached to star and Suicide Squad director David Ayer attached to direct. Max Landis, the writer of Chronicle and American Ultra, wrote the script.

Several sources caution that a deal is far from done, however.

Bright's story is described as a mixing of End of Watch, Ayer's own gritty cop movie, and Alien Nation, the 1988 movie that starred James Caan and Mandy Patinkin as human and alien cop forced to work together.

In Bright, the setting is world where magical creatures live side by side with humans and the police have a division handling crimes involving magic. A human cop (Smith) is forced to work with an Orc (Edgerton) to find something that unsavory elements are prepared to kill for, a powerful wand.

Eric Newman and Bryan Unkeless are producing as is Landis.

Netflix has been making aggressive strides into movie content but for the most part, it's efforts have been modestly-scaled and without wide commercial appeal. It has a deal for a series of Adam Sandler comedies but Sandler is seen as an actor whose big-screen power has waned.

It made the acclaimed drama Beasts of No Nation with Idris Elba but that movie is said to have suffered during the Oscar race due to not being widely seen.

With Bright, it would have a project that reunites Smith and Ayer, a duo that is generating heat due to the buzz on Warners' Suicide Squad. The studio wants Ayer to jump into a sequel as soon as possible but insiders say that the director wanted to do something else first before returning to the land of DC villains.

The project was shopped as a film with a budget of $80 million-$100 million and required a production commitment - something that was a worry for some suitors. (One studio was ready to go all in at $55 million but that offer was rejected.)

[crippled_avenger]

Pogledao sam JANE GOT A GUN Gavina O'Connora. Ovo je bila probematična produkcija koju je rediteljka napustila neposredno pred početak snimanja, a onda su se desile promene u podeli i dolazak Gavina O'Connora, potencijalnog autora koji se za sada ipak više nameće kao pouzdan profesionalac. JANE GOT A GUN ne izgleda kao problematična produkcija, deluje kao film koji je snimljen onako kako je zamišljen, ali se postavlja pitanje da li je dobro zamišljen i rekao bih da nije.

JANE GOT A GUN je prilično konvencionalna rape and revenge fantazija smeštena na Divlji Zapad, sa tom razlikom što se osnovna premisa prepuna melodramskog ekscesa, gotovo vodviljskih zamena identiteta i exploitaion odnosa među likovima predstavlja kao "tajna" među junacima koja zaslužuje da se otkrije kroz flešbek. Da je film ispričao ovo po redu, bio bi to solidan osvetniči vestern a ovako ima vrlo ozbiljan problem pretenzije do koje ne dobacuje.

S jedne strane, želi da bude "ženski film" ali žensko ostvarivanje bazira samo na tome što žena preuzima ulogu muškarca a ne kroz emancipaciju unutar neke ne-muške uloge. Kada žena nema ulogu muškarca, ona ima ulogu žrtve. U tom smislu, ovo je redak primer film o jakoj junakinji koja je jaka samo kada nije žena, a kada jeste onda je objektifikovana, jadna i nemoćna.

Natalie Portman je umnogome iznad ovog materijala, ali deluje kao da je ona sama pomislila kako sve ovo ima nešto više u sebi od pukog exploitationa. Joel Edgerton je solidan, mada ne i sjajan u ulozi revolveraša sa kojim ona ima predistoriju, a kao scenarista se ovde slabije pokazao nego kao glumac. Ewan McGregor ima nezavidnu ulogu negativca koji nema ozbiljnu motivaciju izuzev što je vrlo zao, i to je otprilike sve što čini njegov lik.

O'Connor sve ovo realizuje muški, tvrdo i solidno, ali ni u jednom trenutku ne uspeva da unapredi sam sadržaj, niti da reši neki od disbalansa između onoga što nude likovi i onoga što očekuju autori i glumci.

Iako bolji od KEEPING ROOM, JANE GOT A GUN na kraju ipak ostaje dosta tanak savremeni vestern.

* * / * * * *

[Meho Krljic]

In Hail of Bullets and Fire, North Korea Killed Official Who Wanted Reform

SEOUL, South Korea —  In late 2013, Jang Song-thaek, an uncle of Kim Jong-un, the North Korean leader, was taken to the Gang Gun Military Academy in a Pyongyang suburb.
Hundreds of officials were gathered there to witness the execution of Mr. Jang's two trusted deputies in the administrative department of the ruling Workers' Party.
The two men, Ri Ryong-ha and Jang Su-gil, were torn apart by antiaircraft machine guns, according to South Korea's National Intelligence Service. The executioners then incinerated their bodies with flamethrowers.
Jang Song-thaek, widely considered the second-most powerful figure in the North, fainted during the ordeal, according to a new book published in South Korea that offers a rare glimpse into the secretive Pyongyang regime.
"Son-in-Law of a Theocracy," by Ra Jong-yil, a former deputy director of the National Intelligence Service, is a rich biography of Mr. Jang, the most prominent victim of the purges his young nephew has conducted since assuming power in 2011.
Mr. Jang was convicted of treason in 2013. He was executed at the same place and in the same way as his deputies, the South Korean intelligence agency said.
The book asserts that although he was a fixture of the North Korean political elite for decades, he dreamed of reforming his country. "With his execution, North Korea lost virtually the only person there who could have helped the country introduce reform and openness," Mr. Ra said during a recent interview.
Mr. Ra, who is also a professor of political science and a former South Korean ambassador to Japan and Britain, mined existing publications but also interviewed sources in South Korea, Japan and China, including high-ranking defectors from the North who spoke on the condition of anonymity.
Mr. Jang met one of the daughters of North Korea's founder, Kim Il-sung, while both attended Kim Il-sung University in the mid-1960s. The daughter, Kim Kyong-hee, developed a crush on Mr. Jang, who was tall and humorous — and sang and played the accordion.
Her father transferred the young man to a provincial college to keep the two apart. But Ms. Kim hopped in her Soviet Volga sedan to see Mr. Jang each weekend.
Once they married in 1972, Mr. Jang's career took off under the patronage of Kim Jong-il, his brother-in-law and the designated successor of the regime.
In his memoir, a Japanese sushi chef for Kim Jong-il from 1988 to 2001 who goes by the alias Kenji Fujimoto remembered Mr. Jang as a fun-loving prankster who was a regular at banquets that could last until morning or even stretch a few days. A key feature of the events was a "pleasure squad" of young, attractive women who would dance the cancan, sing American country songs or perform a striptease, according to the book and accounts by defectors.
Mr. Jang also mobilized North Korean diplomats abroad to import Danish dairy products, Black Sea caviar, French cognac and Japanese electronics — gifts Mr. Kim handed out during his parties to keep his elites loyal.
But North Korean diplomats who have defected to South Korea also said that during his frequent trips overseas to shop for Mr. Kim, Mr. Jang would drink heavily and speak dejectedly about people dying of hunger back home.
Few benefited more than Mr. Jang from the regime he loyally served. But he was never fully embraced by the Kim family because he was not blood kin. This "liminal existence" enabled him to see the absurdities of the regime more clearly than any other figure within it, Mr. Ra wrote.
Mr. Ra said Hwang Jang-yop, a North Korean party secretary who defected to Seoul in 1997 and lived here until his death in 2010, shared a conversation he once had with Mr. Jang. When told that the North's economy was cratering, Mr. Jang responded sarcastically: "How can an economy already at the bottom go further down?"
Mr. Jang's frequent partying with the "pleasure squad" strained his marriage. Senior defectors from the North said it was an open secret among the Pyongyang elite that the couple both had extramarital affairs.
Their only child, Jang Kum-song, killed herself in Paris in 2006. She overdosed on sleeping pills after the Pyongyang government caught wind of her dating a Frenchman and summoned her home.
Still, the marriage endured. When Kim Jong-il banished Mr. Jang three times for overstepping his authority, his wife intervened on his behalf.   After Mr. Kim suffered a stroke in 2008 and died in 2011, Mr. Jang helped his young nephew, Kim Jong-un, establish himself as successor. At the same time, he vastly expanded his own influence — and ambition.
He wrested the lucrative right of exporting coal to China from the military and gave it to his administrative department. He purged his rivals, including Ri Yong-ho, the chief of the military's general staff, and U Dong-chuk, a deputy director at the Ministry of State Security, the North's secret police.
Mr. Jang's campaign for more influence was apparently aimed at pushing for the kind of economic overhaul that China has introduced, Mr. Ra wrote. But he underestimated how unpalatable the idea was to Kim Jong-un, whose totalitarian rule would be undermined by such reform.
Mr. Ra said it was impossible to establish the exact sequence of events that led to Mr. Jang's downfall. But it was clear his hubris played a role. At the height of his power, photographs in the North Korean media showed Mr. Jang leaning on an armrest, looking almost bored, while his nephew spoke.
Announcing his execution, North Korea said Mr. Jang, "human scum worse than a dog," had betrayed the Kim family by plotting to overthrow the younger Mr. Kim, using economic collapse as a pretext, and to rule the country himself as premier and "reformer."
He was accused of planting his followers in key posts and profiteering from minerals exports. His indictment pointedly noted that Mr. Jang had stood up and clapped only "halfheartedly" when Mr. Kim was being upheld as supreme leader.
In 2013, Mr. Kim, after hearing complaints about Mr. Jang's expansion of power, ordered his department to relinquish the management of a fishing farm and a condensed milk factory. But officials loyal to their "Comrade No. 1," Mr. Jang, blocked those who arrived to carry out Mr. Kim's orders from entering their premises.
It was probably the last straw for Mr. Kim, still unsure about himself and extremely sensitive about any challenge to his supposedly monolithic leadership. Meanwhile, Mr. Jang's enemies in the secret police were eager to go after him.
"There was no indication that he had a lawyer or was allowed to speak for himself during his trial," Mr. Ra said. "It was not a trial but a murder."
Mr. Jang's name has been expurgated from all official records in the North. Hundreds of his associates were purged. His wife is alive but sickly, according to the South Korean intelligence agency.
But some people in Pyongyang still remember his role in the tall apartment buildings, water parks and other showpiece projects he once zealously promoted to glorify his nephew's nascent leadership.

[crippled_avenger]

Još prošle godine sam pogledao BATMAN: ASSAULT ON ARKHAM Jaya Olive i Ethana Sapuldinga, ali kako je reč o jednom od najboljih DCjevih animiranih filmova shvatio sam da moram da odvojim posebno vreme da bih ga živopisao i onda se vremenom zaturio na listi dela koja treba sačuvati od zaborava.

Dakle, BATMAN: ASSAULT ON ARKHAM ima jednu inherentnu prednost koja mu već u startu daje prednost u odnosu na ostale DC animacije a to je činjenica da su protagonisti pripadnici Suicide Squada. Ovaj Suicide Squad u ASSAULT ON ARKHAMu nije u istom sastavu kao onaj sa kojim istrčava Ayer, ali ono što je važno jeste da je hemija među karakterima tu. Neverovatno je kako scenarista Heath Corson uspeva da stvori hemiju među junacima, da izgradi odnose, a potom sjajno iskoristi njihov nihilizam, spremnost da ubijaju i da jedni druge stavljaju u gadne situacije. Odnos između Harley Quinn i JOkera je fantastično urađen, a scena kada gine KGBeast je ozbiljan WTF momenat.

Antiestablišmentski završni kadar sa Deadshotom i Amandom Waller i uopšte način na koji je ona crtana pokazuju jaku buntovničku crtu.

Scenarista Heath Corson je u ambijentu Arkham Asyluma maksimalno iskoristio sve elemente koji mu se nude tako da je u ovom filmu koji u sebi nosi strukturu Guys on a Mission filma zapravo pravi istinsko razaranje Asyluma, gde rušenje nije samo fizičko već se očituje i kroz osloboađanje raznih zatočenih negativaca.

U sred celog ludila koje generišu članovi Suicide Squada, Batmanova moralna vertikala konačno ima smisla i iako je ovde sporednjak, dobija jako kvalitetnu ulogu, često efektniju od nekih protagonisičkih koje je imao u DC animacijama.

Animacija je na liniji ostalih DC naslova, ali njenom rudimentarnom konceptu jako pomaže to što ovog puta autori dobijaju neke izazovnije prizore za crtanje, jer ima više krvi nego inače, a i više humora. Filmski žargon koji se uvodi je takođe sjajno uveden u pojedinim scenama.

Za one koji su skeptični prema ideji DC animacija koje idu DTV, ASSAULT ON ARKHAM je izvanredna uvodna tačka.

* * * 1/2 / * * * *

[Meho Krljic]

Frst vi tejk Menhetn...

North Korea claims it could wipe out Manhattan with a hydrogen bomb

SEOUL — North Korea claimed Sunday that it could wipe out Manhattan by sending a hydrogen bomb on a ballistic missile to the heart of New York City, the latest in a string of brazen threats.

Although there are many reasons to believe that Kim Jong Un's regime is exaggerating its technical capabilities, the near-daily drumbeat of boasts and warnings from North Korea underlines its anger at efforts to thwart its ambitions.

[North Korea's making a lot of threats these days. How worried should we be?]

"Our hydrogen bomb is much bigger than the one developed by the Soviet Union," DPRK Today, a state-run outlet, reported Sunday. DPRK stands for the Democratic People's Republic of Korea, North Korea's official name.

"If this H-bomb were to be mounted on an intercontinental ballistic missile and fall on Manhattan in New York City, all the people there would be killed immediately and the city would burn down to ashes," the report said, citing a nuclear scientist named Cho Hyong Il. On Jan. 6, North Korea announced that it successfully tested a hydrogen bomb. Experts say it appeared to be a less powerful atomic device. However, a hydrogen bomb detonation would mean North Korea has taken a huge step forward in their nuclear capability. (The Washington Post) 
The website is a strange choice for making such a claim, given that it also carries reports about such topics as rabbit farming and domestically made school backpacks.

North Korea's newly developed hydrogen bomb "surpasses our imagination," Cho is quoted as saying.

"The H-bomb developed by the Soviet Union in the past was able to smash windows of buildings 1,000 kms away and the heat was strong enough to cause third-degree burns 100 kms away," the report continued. (A thousand kilometers is about 625 miles; 100 kilometers, about 62.5 miles.)

[Punishing North Korea: A rundown on current sanctions]

Kim in January ordered North Korea's fourth nuclear test and claimed that it was a hydrogen bomb, not a simple atomic one. But most experts are skeptical of the claim, saying the seismic waves caused by the blast were similar to those produced by the North's three previous tests.

Then in February, Kim oversaw the launch of what North Korea said was a rocket that put a satellite into orbit, a move widely considered part of a long-range-ballistic-missile program.

North Korea has made advances in its intercontinental-ballistic-missile program, and though experts generally conclude that the United States' West Coast could be within reach, there has been no suggestion that the North would be able to hit the East Coast.

Many experts are also skeptical of the "miniaturized warhead" that Kim showed off last week during a visit to a nuclear weapons plant.

But Jeffrey Lewis, director of the East Asia nonproliferation program at the Middlebury Institute of International Studies at Monterey, warned against dismissing the claim too soon.

"It does not look like U.S. devices, to be sure, but it is hard to know if aspects of the model are truly implausible or simply that North Korean nuclear weapons look different than their Soviet and American cousins," Lewis wrote in an analysis for 38 North, a website devoted to North Korea. "The size, however, is consistent with my expectations for North Korea."

As international condemnation of the North's acts mounted, culminating this month in the United Nations' toughest sanctions yet against Pyongyang, Kim's regime has become increasingly belligerent, firing missiles into the Sea of Japan — also known as the East Sea — and issuing a new threat or denunciation almost every day.

The sanctions coincide with annual spring drills between the U.S. and South Korean militaries, which Pyongyang considers a rehearsal for an invasion. The ongoing exercises are viewed as particularly antagonistic because special forces are practicing "decapitation strikes" that target Northern leaders and the destruction of Pyongyang's nuclear and missile sites.

[In drills, U.S., South Korea practice striking North's nuclear plants, leaders]

On Friday, North Korea's state media reported that Kim ordered more nuclear tests, while the North's Korean People's Army warned in a statement Saturday that it would counter the drills by "liberat[ing] the whole of South Korea including Seoul . . . with an ultra-precision blitzkrieg strike of the Korean style."

South Korea's Defense Ministry urged Pyongyang to stop its threats and provocations.

"If the North continues to make provocations despite the stern warnings made by our military, it is inevitable for us to roll out a strict response that may lead to the destruction of the Pyongyang regime," South Korea's Joint Chiefs of Staff said in a statement, according to the Yonhap News Agency.

[crippled_avenger]

Mehmete, pogledaj ASSAULT IN ARKHAM! Zrelo je!


Sent from my iPhone using Tapatalk

[Meho Krljic]

Da čitam juče tvoj prikaz i isto mislim.

[crippled_avenger]

Pogledao sam TUMBLEDOWN Seana Mewshawa indie film u kome Jason Sudeikis proširuje svoje područje borbe i prelazi u domen indie melodrame. Partnerka mu je Rebecca Hall koja od Affleckovog izvanrednog TOWNa ne uspeva da nađe siguran oslonac. Sudeikis ovde igra profesora sa američkog univerziteta koji posećuje suprugu prerano preminulog Americana kantautora sa željom da piše knjigu o njemu. Međutim, u toku njihove komunikacije, ona mora da se suoči sa žalošću, da nekako prevaziđe gubitak, i da naravno otkrije novu ljubav u liku profesora.

TUMBLEDOWN ima sve sastojke dobrog filma ali od početka postepeno tone i na kraju se završava potpunim pripovedačkim, intelektualnim i emotivnim brodolomom, i izdvaja se kao retko "čist" promašaj u autorskom pogledu.

Sudeikis paradoksalno u svojoj karijeri najstabilnije filmove snima kada je pod okriljem studio-komedije, i zapravo u indie flmovima za sada snima radove koji mu više narušavaju nego što mu popravljaju reputaciju.

* 1/2 / * * * *

[Meho Krljic]

Uzgred 

"Deadpool" Just Passed "Man of Steel" and "Iron Man" at the Box Office

[Meho Krljic]

Nego, novi trejler za Hardcore Henry ne razočarava, au contraire:


http://youtu.be/4JVgQzBG5Ho


A Evan Narcisse je i gledao film i ovo su mu utisci.

[crippled_avenger]

HARDCORE HENRY je debitovao u Midnight Madnessu i posle toga nije išao ni na jedan festival, kad je prodat STXu za abnormalnu sumu. Međutim, voleo bih da STX vrati pare koje je uložio, i nadam se da je publika spremna za ovako radikalnu postavku...

[ginger toxiqo 2 gafotas]

...vele, na VOD-u od osmog aprila vec...

[crippled_avenger]

EDERLEZI RISING nastaje. Evo prilike da mu pomognete...

https://www.indiegogo.com/projects/ederlezi-rising-sci-fi-feature-film--2#/


Sent from my iPhone using Tapatalk

[Meho Krljic]

Pomoći ćemo, ov kors.

Nego kakav je Ledžends ov Tumorou?

5 Reasons Legends Of Tomorrow Is Way Worse Than Arrow And The Flash

[Meho Krljic]

Oh, smemo li se nadati?

The First Episode of Preacher Gets The Important Stuff Right

[crippled_avenger]

Legends of Tomorrow je prilično slab... Ima nekih faza kad se malo popravi ali ukupno uzev, to je baš loše. Ispratiću ovu sezonu do kraja pa dižem ruke od ove CW grane...


Sent from my iPhone using Tapatalk

[crippled_avenger]

Stari pokušava da sumira trag koji je na našim ekranima ostavio Dragan Nikolić

http://www.beforeafter.rs/kultura/dragan-nikolic/


Sent from my iPhone using Tapatalk

[Meho Krljic]

 12 Best DC Animated Films

[Meho Krljic]

'Daredevil' Season 2 Review: Elodie Yung's Elektra Electric In Strong Netflix Series

[Meho Krljic]

Za ljude (poput mene, ali još više mog kolege koji se verovatno višene seća kad je otišao u bioskop poslednji put i stalno me smara pitanjima jesu leakovali filmovi koji su juče ušli u bioskopsku distribuciju) koji oće da gledaju filmove kad i sav ostali svet ali ne žele da idu u bioskop (ili nemaju bioskop razumno blizu), novi servis koga priprema kreator Napstera Sean Parker, Screening Room bi mogao da bude prava stvar:



Peter Jackson Says Screening Room Grows the Movie Business (EXCLUSIVE)

Peter Jackson said he is backing Screening Room, the controversial start-up that wants to deliver new releases to homes while they are still in theaters, because it captures an audience that does not go to the cinema.
"Screening Room will expand the audience for a movie — not shift it from cinema to living room," Jackson said in a statement.
Jackson isn't the only big name backing the venture. He is joined as a shareholder by Steven Spielberg, Ron Howard, Brian Grazer, Martin Scorsese, Taylor Hackford,  Frank Marshall, and J.J. Abrams.
Screening Room, the brainchild of entrepreneurs Sean Parker and Prem Akkaraju, offers movies for $50 at the same time as they open in theaters. It plans to charge $150 for access to the anti-piracy equipped set-top box that transmits the films and will give customers 48 hours to watch the movies. The hope is to capture middle-aged audiences whose family responsibilities prevent them from routinely going to the theater.
After Variety broke the news of Jackson's involvement, some questioned whether he was back-tracking on his earlier support for theatrical release windows. In 2011, Jackson was among more than 20 directors who signed a letter decrying a deal that several major studios made with DirecTV to rent several releases eight weeks after they landed in theaters. Other signatories included Michael Bay, Kathryn Bigelow, James Cameron and Guillermo del Toro.
But in a statement to Variety, Jackson explained that he believed that the DirecTV deal would imperil the theatrical business, while Screening Room will grow overall revenues for the industry.
Here is Jackson's full statement:
"I had concerns about 'DirecTV' in 2011, because it was a concept that I believe would have led to the cannibalization of theatrical revenues, to the ultimate detriment of the movie business.
Screening Room, however, is very carefully designed to capture an audience that does not currently go to the cinema.
That is a critical point of difference with the DirecTV approach – and along with Screening Room's robust anti-piracy strategy, is exactly why Screening Room has my support.
Screening Room will expand the audience for a movie – not shift it from cinema to living room. It does not play off studio against theater owner. Instead it respects both, and is structured to support the long term health of both exhibitors and distributors – resulting in greater sustainability for the wider film industry itself."
As Jackson argues, Screening Room is intended to serve as a bridge between studios and theater owners. The plan is to cut exhibitors in on as much as $20 out of the $50 fee and give customers two free tickets to a film, so they will be enticed to buy concessions. Studios also get a substantial percentage of the fee.
Studios such as Universal and Fox are weighing the proposal, and AMC is interested in the company's offer. Other exhibitors, such as Regal, are believed to be skeptical of the plan. The start-up is challenging established business practices. Wide-release films are typically in theaters for 90 days before hitting home entertainment platforms.
Parker is best known for his roles in Internet companies such as Napster, Facebook and Spotify. Akkaraju has ties to the entertainment industry from stints as a partner at the electronic music company SFX Entertainment and as global head of operations at Sanctuary Music Group.

[crippled_avenger]

Ovo je na dugom štapu a autori se kao Srbinveć podelili - Cameron protiv, Scorsese za!


Sent from my iPhone using Tapatalk

[Ugly MF]

Legends of Tomorrow je prilično slab... Ima nekih faza kad se malo popravi ali ukupno uzev, to je baš loše. Ispratiću ovu sezonu do kraja pa dižem ruke od ove CW grane...


Sent from my iPhone using Tapatalk

Ah,,,zamalo i ja ovo da napišem, ali onda obećaše Supergirl / Flash crossover
...da, pratim svaku epizodu i Supergrl,pa šta?Gilti pležr, a ima ga i ŽonŽounzzz!!!

[Васа С. Тајчић]

Za ljude (poput mene, ali još više mog kolege koji se verovatno višene seća kad je otišao u bioskop poslednji put i stalno me smara pitanjima jesu leakovali filmovi koji su juče ušli u bioskopsku distribuciju) koji oće da gledaju filmove kad i sav ostali svet ali ne žele da idu u bioskop (ili nemaju bioskop razumno blizu), novi servis koga priprema kreator Napstera Sean Parker, Screening Room bi mogao da bude prava stvar:

Ово не бива, гос'н Крљићу. Опрема у биоскопима је врло скупа а трошак се дели на већи или мањи број гледалаца. Не може се доћи до прихватљиве цене за просечног гледаоца коме сметају редови, гужва и непристојна публика у биоскопу па би филм хтео да погледа у миру дома свог. Постоји сервис за милионере у Америци који се зове Prima Cinema који омогућава кућно гледање најновијих филмова по цени од 35000 долара за уређај и 500 долара за филм. Треба нагласити да се филм не стримује већ се "скида" на тврди диск уређаја. Међутим, мени изгледа дубиозно да се представља да је слика дупло веће оштрине од оне на Blu-ray диску. Питам се каква је то технологија?!
Сада би ови предузимачи хтели да смање цену 10 пута на 50 долара по филму уз неке бенефиције (што је још увек много) и смисле систем отпоран на хаковање. Врло тешко.

[Meho Krljic]

Zabeleženo, gos'n Tajčiću pa ćemo da pratimo dalji razvoj situacije. Možda ovo bude killer app za VR jednog dana, ko zna? 

[crippled_avenger]

Pogledao sam LONDON HAS FALLEN Babaka Najafija. Najafi je u svom holivudskom debiju lako prevazišao ono što je Antoine Fuqua ostavio u amanet sa prvim filmom OLYMPUS HAS FALLEN i to nije bilo previše teško. Međutim, kada se suočimo sa svim onim što ne valja u filmu LONDON HAS FALLEN, rekao bih da je Babak Najafi itekako imao sa čime da se bori u ovoj produkciji.


London je čitav grad za razliku od samo jednog kompleksa zgrada, pa je Najafi imao mnogo šarenije lokacije za svoje akcione egzibicije, i moga je da pravi DIE HARD WITH A VENGEANCE a ne samo još jedan bukvalni rip-off DIE HARDa, međutim, i fotografija Bena Wilda i scnografija i produkcioni dizajn u celini daleko nadilaze OLYMPUS. Očigledno su Fuqua i ekipa bili ulenjeni snimanjem na tax rebateu u Nju Orleansu, dočim je Babak Najafi izvukao maksimum iz svog snimanja po Londonu, Bugarskoj i Rumuniji i doneo je much bigger bang for the invested buck. U to nema nikakve sumnje.


Barem jedan set piece iz filma LONDON HAS FALLEN je zaista izvanredan i pokazuje da Babak Najafi sa ponosom može nositi titulu "Daniela Espinose za siromašne". Posle žanrovskog debija u filmu SNABBA CASH 2, u Espinosinoj produkciji, LONDON HAS FALLEN je upravo film koji je Espinosa opet "prerastao" i pao je Najafiju u krilo.


Otud opšta sahrana na koju je LONDON HAS FALLEN naišao nije sasvim pravedna prema ovom reditelju koji je pokazao velo solidnu vizuelnu pismenost i osećaj za akciju u ovom filmu. Međutim, LONDON HAS FALLEN zaista ima neke krupne nedostatke sa kojima Najafi nije mogao da izađe na kraj.


Za razliku od OLYMPUSa koji zaista ništa ne valja, LONDON HAS FALLEN umnogome kroz Najafijevu inscenaciju uspeva da prevaziđe zaista neverovatnu glupost scenarija. Ovog puta scenaristi nisu imali priliku da rip-offuju ceo koncept kao kada su onomad pokrali WHITE HOUSE DOWN oglodavši Vanderbiltov skript do koske, ali LONDON je sklopljen od raznih delova gde neki od najnelogičnijih verovatno slučajno uspevaju da postanu znakoviti.


Recimo u parafrazi čuvene "Battery, Aziz" situacije iz TRUE LIESa, ovde imamo puno opravdanje zašto teroristi ne ubiju američkog predsednika dok imaju prilku. Naime, odlažu ubistvo dok ne uspostave internet link kako bi to izveli u direktnom prenosu. Koliko god to inicijalno bilo moronski, zapravo je vrlo istinito, ako imamo u vidu visoku medijsku kulturu ISISa - oni bi ziasta sačekali sa egzekucijom dok se ne uspostavi link.


Ono međutim što većina akcionih filmova uspeva da uradi kako treba, čak i kada nema tako tehnički veštog reditelja za kormilom, jeste da ima upotrebljivog glavnog glumca. Gerard Butler međutim zaista nije dorastao zadatku u ovom filmu. LONDON HAS FALLEN je vrlo redak slučaj glavne role bilo kog glumca tog profila u kojoj tako strašno padne ispod svog nivoa.


Butler u ovom filmu ne uspeva da dobaci ni do svog rutinskog nivoa akcionog heroja. Ne samo što deluje da je koji kilogram deblji nego što bi trebalo, iako u filmu jako insistiraju da je u jako dobroj formi što deluje skoro pa kao ismevanje Butlera, već u pojedinim scenama krivi usnu u neku čudnu grimasu kao da parodira Johna Waynea iz lošijih uloga. Butler praktično sve vreme opstruira film, ne samo svojim grimasama i sumnjivom fizičkom spremom (premda ruku na srce ubedljiviji je od Seagala ili Willisa u poslednje vreme) vrć i habitusom generalno zbog kog neke scene katarzičnog nasilja koje njegov junak sprovodi deluju naprosto sadistički.


U pojedinim situacijama, Butlerov junak prekoračuje granice potrebnog nasilja, i to je verovatno po zamisli autora imalo za cilj da stvori utisak katarze i kažnjavanja negativca. Međutim, ovako kako Butler to igra, sve izgleda kao iživljavanje od strane neke seljačine, i deluje kao manir svojstven negativcima.


Zahvaljujući Butleru koji na skoro svakom koraku sabotira film u glumačkom pogledu, LONDON HAS FALLEN na kraju ne uspeva da se nametne kao tupav film koji postaje "dobar" zahvalujući vrhunskoj rediteljskoj orkestraciji. U krajnjoj liniji, uz sve pohvale za Babakovu veštinu, ne možemo pobeći od istine da je i rukovanje Butlerom par excellence rediteljski zadatak.


Ipak, ostaje pitanje da je li je Babak mogao bolje kontrolisati Butlera ako imamo u vidu da je on ovde bio i producent.


* * 1/2 / * * * *

[crippled_avenger]

Gamechanger Completed

http://deadline.com/2016/03/netflix-bright-will-smith-90-million-deal-david-ayer-joel-edgerton-max-landis-1201721574/?utm_source=dlvr.it&utm_medium=twitter


Sent from my iPhone using Tapatalk

[crippled_avenger]

Pogledao sam THE PREPPIE CONNECTION Josepha Castela, istinitu priču o čuvenoj aferi iz elitne srednje škole, kada je mladi blue collar učenik, stipendista, razvio mrežu prodaje narkotika, pre svega kokaina među bogatim učenicima iz viših klasa. Trgovina drigom je išla toliko daleko da je ovaj tinejdžer na kraju putovao u Kolumbiju i odande donosio čistak.

Thomas Mann je oslonac ovog filma i počeo je da pravi vrlo zanimljivu karijeru kao leading man u indie filmovima. Naravno, još je mlad da se u potpunosti proceni u kom pravcu će se kretati Mannova karijera, ali THE PREPPIE CONNECTION je jedan od onih filmova kroz koji će jako drugo živeti na televizijama i malim ekranima.

Castelin film je odlično slikan i ako imamo u vidu da je snimljen na niskom budžetu, ekipa zaslužuje pohvale za uzornu ekontrukciju epohe. Sa vrlo malo skupih detalja, uz dobar tretman ambijenata i soundtrack isključivo sačinjen od lookalike numera, bez ijedne skupo plaćene pesme, THE PREPPIE CONNECTION uspeva da nas vrati u 1984. godinu čemu sigurno doprinosi i to što je svakodnevni život pa samim tim i dramaturgija filmova o mladima danas dosta izmenjena upotrebom mobilnih telefona, socijalnih mreža i sl.

U tom pogledu, THE PREPPIE CONNECTION nudi čistiju sliku ekscesa osamdesetih, mnogo jasnije od LESS THAN ZERO Mareka Kanievske, između ostalog zato što nudi i istorijsku distancu, dok tamo Ellis i Kanievska nisu tačno znali dokle slave dekadentni život mladih a odakle ga osuđuju.

Međutim, Castela mnogo nepretencioznije uspeva da zagrebe površinu života ljudi koji su kasnije postali protagonisti romana Bret Eastona Ellisa i Donne Tartt, THE PREPPIE CONNECTION je zapravo jedan od onih "malih" filmova koji ume da zavara, i zapravo je mnogo "veći" od onoga kako izgleda, a nažalost i od onoga kako je na kraju krajeva tretiran.

Castelo se koristi dobro oprobanim dramaturškim i montažnim rešenjima kako bi "spakovao" svoju priču, i svako od konvencija kojih se latio vrlo vešto primenjuje na ovu istinitu priču.

THE PREPPIE CONNECTION bi mogao biti zanimljiv double bill sa filmom LA CREME DE LA CREME, a daleko nadmašuje precenjene naslove kao što je BLING RING, recimo.

* * * 1/2 / * * * *

[Meho Krljic]

Druga sezona Daredevila je disendovala na Zemlju i do se pripremam da je gledam, vidim da ima i negativnih reakcija i da vele da sad kad nema Godara i DeNajta to više nije to i sada je samo going through the motions... OK, videćemo.

[crippled_avenger]

Nema Godara a nema ni Trifoa


Sent from my iPhone using Tapatalk

[Meho Krljic]

Kriza avangarde. 

Inače, vidim da se zamera da nema ni Vinsenta D'Onofrija ali to je ipak sad već traženje leba preko pogače...

[Ugly MF]

Aman...jel tesko se prvo odgleda serija!?
A ne rivjuzi od rivjua i kritike i debate...?

[Meho Krljic]

Da se pročita rivju ipak treba samo dva minuta a da se odgleda serija treba 13 sati. Dakle, u tom nekom rasporedu snaga - da, teško je    Al trudimo se!!!!!!!!

[crippled_avenger]

Pogledao sam THE 5th WAVE J. Blakesona, ekranizaiciju romana Ricka Yanceya, sa kojom je trebalo da se otvori nova Young Adult franšiza, Ipak, na kraju od toga nije bilo ništa. Film nije uspeo da se isplati na američkim blagajnama uprkos skromnom budžetu od 38 miliona dolara, a što je još gore, ne mogu mu predskazati neku veliku budućnost na duže staze jer je nažalost snimljen kao početak potencijalnog serijala, dakle ne nudi zaokruženu priču, ni na nivou samog zapleta, ali što je još gore ni unutrašnja struktura priče nije koncipirana kao da je ovo standalone film i mislim da je to na kraju skupo koštalo ovaj projekat.

THE 5th WAVE deluje kao produženi televizijski pilot u kome se uvode likovi i neki osnovni konflikti, ali se po ritmu izlaganja vidi da se ni karakteri ni priča neće rešiti u prvih sat i po ili dva tarajanja. THE 5th WAVE je u tom smislu simbol svega što je loše u tim pokušajima da se prave serijali.

No, treba imati na umu, filmovi iz kojih je izrasla kultura serijala su obično bili jako dobri i što je još važnije, bili su standalone u svakom smislu. Iz njihovog uspeha su potom nastajali serijali dočim je ovde serijal bio začet samo u nameri producenta i činjenici da postoje knjige.

* 1/2 / * * * *

[Ugly MF]

Da se pročita rivju ipak treba samo dva minuta a da se odgleda serija treba 13 sati. Dakle, u tom nekom rasporedu snaga - da, teško je    Al trudimo se!!!!!!!!

..weaklings....

[crippled_avenger]

Mehmete, u sledećim časovima stižu prve BvS kritike...


Sent from my iPhone using Tapatalk

[Meho Krljic]

I evo ih:



First Reactions To Batman V. Superman Are Very Positive

The intensity of the insanely long film is achieved with special effects, plot twists, geeky references and the volume being turned up to eleven from start to finish," wrote Emma Gritt of The Sun. "While die-hard DC Comic devotees might be punching the air as the Justice League are teasingly introduced, the average film fan may be left scratching their head.  Overall Zac Snyder's Batman v Superman blockbuster is an emotionally charged punch-up — but it's newcomer Gal Gadot's Wonder Woman who really steals the show.

[crippled_avenger]

Moratorijum je zaveden do sutra.


Sent from my iPhone using Tapatalk

[crippled_avenger]

Pogledao sam NINA FOREVER Chrisa i Bena Blainea. Ovaj rediteljski dvojac je do sada radio kratke igrane filmove a jedan je imao iskustvo i kao montažer na zanimljivim BBCjevim serijama. Nažalost, zavidna veština koju su pokazali u realizaciji ove priče, pala je u senku tanke premise koju nisu uspeli da isteraju.

Sama premisa pokojne devojke koja se javlja momku dok pokušava da nađe novu je prilično trošena, doduše ne na ovako visceralan način kao kod Blaineovih. Nažalost, vrlo vibrantan prikaz telesnosti, i u formi erosa i u formi tanatosa ubrzo postaje repetitivan. U tom ponavljanju počinju da se iscrpljuju čulnost i telesnost i već na pola filma NINA FOREVER deluje kao delo sa deficitom ideja.

Dok Blaineovi bez sumnje imaju "zanat u rukama", očigledno da im osmišljavanje priče, ni na nivou premise, ni scenaristička razrada nisu jača strana. NINA FOREVER zbog vešte realizacije ostaje film koji je povremeno na granici da zaista postigne nešto zanimljivo ali na kraju, kada se podvuče crta, ne postiže svoj cilj.

* * / * * * *

[crippled_avenger]

Variety:

Who would win in a fight, Batman or Superman? Could the Flash outrun Superman? Could Superman craft a boulder so heavy even he couldn't lift it? While "Batman v Superman: Dawn of Justice" ostensibly seeks to tackle the first of those evergreen schoolyard hypotheticals, it's the third that ends up proving the biggest litmus test for director Zack Snyder. Tasked with colliding the two most archetypal of American superheroes while also answering critics of his last outing, "Man of Steel," and perhaps most importantly, paving the way for an extended DC Comics universe of films on which much of Warner Bros. future bottom line relies, Snyder has set a Sisyphean task for himself. That this very long, very brooding, often exhilarating and sometimes scattered epic succeeds as often it does therefore has to be seen as an achievement, and worldwide box office should be sufficiently lucrative to ensure future installments proceed on schedule. But amidst all the grueling work of saving the world and shouldering a franchise toward the heights, it would be nice to see these heroes, and this series, take a few more breathers to enjoy the view.

Proving that the placement of names in the title isn't simply alphabetical, the first few reels of "Batman v Superman" spends most of its time in the company of the Caped Crusader, with controversial casting Ben Affleck stepping quite comfortably into the role. That the film opens with yet another operatic depiction of the young Bruce Wayne's most formative trauma is perhaps unavoidable — Thomas and Martha Wayne have been killed so many times in so many different media that their deaths may as well be one of the stations of the cross — but our first glimpse of the adult Wayne is hardly standard issue. Taking a civilian-level view of the cataclysmic destruction of Metropolis that ended "Man of Steel" on a contentious note, we watch as Wayne attempts to remotely evacuate his own Metropolitan Wayne Enterprises skyscraper, crippled by a wayward Superman (Henry Cavill) as he battles with General Zod just outside of the frame. Despite his mad drive through the battle-torn streets, Wayne arrives just in time to watch, horrified, as a friendly security guard loses his legs and a young girl becomes an orphan.

Setting Wayne up as the film's initial conscience is one of Snyder's most interesting gambles, especially as his Batman quickly evolves into the most morally ambiguous iteration of the character yet seen on film. More than willing to shoot, brutalize and kill if the need arises, this Batman is still a figure of mystery in Gotham, and Snyder refrains from showing us the character in full cowl until surprisingly late in the game.

RELATED
Batman vs Superman
Box Office: 'Batman v Superman' to Soar to $300 Million-Plus Global Debut

Fortunately, Affleck's Wayne — here sporting salt-and-pepper temples and all the baggage of a man who, as faithful butler Alfred (Jeremy Irons) notes, "got too old to die young, and not for want of trying" — is a winningly cranky, charismatic presence even when out of costume. Diving headfirst into the sorts of detective work that Christopher Nolan's Batman trilogy often short-shrifted, Wayne casts a skeptical eye on Superman while investigating a mysterious underworld figure named White Portuguese, his tracks traced by an equally mysterious woman (Gal Gadot).

Meanwhile, Superman has hardly recovered from the fallout of his chaotic battle with Zod when controversy strikes yet again. Though he's been welcomed as a savior by most of Metropolis, in the course of rescuing Lois Lane (Amy Adams) from a terrorist interview gone awry, he's blamed for the deaths of several African villagers. This attracts the scrutiny of the crusading southern Senator Finch (Holly Hunter), who heads up a Congressional Superman Committee, disturbed by the Krypton's exercise of unilateral power.

She gains an uneasy ally in a cheeky young industrialist named Alexander "Lex" Luthor (Jesse Eisenberg, retaining his Zuckerbergian misanthropy from "The Social Network" and his stringy, Cobainian hair from "American Ultra"), who hopes to seduce her into allowing him to import a mysterious glowing green substance discovered in the Indian Ocean. Scarfing Jolly Ranchers, quoting Nabokov, and showing up to formal events wearing a white blazer and sneakers, Eisenberg tackles Luthor as the brogrammer from hell, a chattily malevolent presence who provides the only real moments of levity in the film.

Juggling all of these strands while steadily beating the drum toward the battle promised in the title, Snyder sometimes loses track of his various allegories. Scripters Chris Terrio and David S. Goyer provide kernels of philosophical and theological quandaries throughout, while their nods toward contemporary political debates are more complex than the scattered visual gags (such as an anti-Superman protester waving an "Aliens Are Un-American" placard) might seem to imply. Yet the essential clash of ideologies promised by the central conflict — vigilante justice vs. self-sacrificing restraint, night vs. day, Dionysus vs. Apollo — never develops quite as forcefully as it should, and the life-or-death battle between the two icons ultimately comes down to a series of misunderstandings.

RELATED
Batman v Superman U.S. Premiere Photos
'Batman v Superman' U.S. Premiere Photos

While "Batman v Superman's" Dark Knight may be more of a pure punisher than some fans would prefer, Snyder's conception of the character at least feels fully formed. Superman remains something of a work-in-progress. (If nothing else, it's strange to see Clark Kent cast a more brooding figure than Bruce Wayne.) Daily Planet scenes are even more perfunctory this time around, and Adams' Lois has plenty to do but little to say.

As a pure visual spectacle, however, "Batman v Superman" ably blows the hinges off the multiplex doors, and editor David Brenner does excellent work to comprehensibly streamline the chaos, capably captured by d.p. Larry Fong. Composers Hans Zimmer and Junkie XL are again key assets here, with Gadot's theme in particular proving quite infectious. Snyder largely tamps down his penchant for hyper-stylized combat imagery until the end, where he stages a series of galactic battles that take style notes from sources as varied as classic WWE rumbles and Harryhausen creature features. As overblown as the lengthy showdown might become, Snyder gets closer than ever before to the chiaroscuro palette of classic comics, and even if his scrupulous efforts to avoid reopening "Man of Steel's" collateral damage debates are a bit on the nose, at least he's clearly received the message.


Sent from my iPhone using Tapatalk

[Meho Krljic]

Review: "Batman vs. Superman" Is the Marvel Killing Mega Hit DC Comics Fans Wanted

There are more Easter eggs in "Batman vs. Superman" than on the front lawn of the White House. Zack Snyder's ultimate DC Comics movie is also the Marvel killing mega fans have longed for. After years and years of free standing "Batman" or "Superman" movies, the two super heroes finally meet, meet each other's companions, duke it out, and come up winners.

The good news– it's all good news– is that Ben Affleck is damn good as Batman/Bruce Wayne, Henry Cavill has improved tremendously as Superman/Clark Kent, and Gal Gadot is a welcome addition as Wonder Woman/Diana Prince.  Jesse Eisenberg is a phenomenal Lex Luthor. Jeremy Irons is a fun Alfred. This little ensemble plays well together, with a humorous pay off line toward the end of the film. (I don't want to ruin it.)

Did I like this movie? I used to buy these comic books for 12 cents at Dubrow's in Woodmere, Long Island. I had stacks of them. I never thought they'd amount to much beyond pre-teen entertainment. But I do think this movie is kind of my pay-off for years of devotion. It's cool to see Lex Luthor introduce Clark Kent to Bruce Wayne. You can't beat it.

Some of the story is a little convoluted, but that's okay. Luthor pits the two "red capes" against each other and you're not quite sure why they take the bait. But Gotham City and Metropolis are exploding, there's a lot of fear and loathing, and someone has to save Lois Lane (the better than ever Amy Adams) from her latest exploits.

And what a coincidence: Bruce and Clark have something in common. Each of them had mothers named Martha.  It is a total coincidence in comic book history. But screenwriters David S. Goyer and Chris Terrio seized on this, among other things, as a nod to fans. They will approve.

We do get mini versions of the Batman and Superman backstories, in case you've been living under a rock for the last 80 years. They're handled economically, thank god, because how many times can you see Bruce Wayne's parents die? Snyder plants two eggs– look for them– in that context. You'll see a movie poster for "Zorro"– the inspiration for Batman long ago, and a movie marquee for "Excalibur." You see, in the updated story, the Waynes only died in 1981. "Excalibur," released that year, about King Arthur's court, is supposed to show the transition "from despair to glory," the movie's set designer tells me. "Zack really liked it."

These aren't spoilers because you can find it all on the IMDB and other places: there are tons of cameos– from a bunch of broadcasters including Charlie Rose and Anderson Cooper- to a lot of other DC heroes. Ezra Miller's "The Flash" — who hasn't been on screen yet– is shown, as is Jason Momoa's Aquaman. "BvS" you see is the beginning of a long launch of DC movies a la Marvel. (I'm thriller since I am sick of "X Men" and can't listen to Peter Parker's whiny history once more.)

There are also nods to Robin (where is he?), and Clark's dead father Jonathan Kent, plus a nice little plot for Ma Kent (Diane Lane, who looks way too young and gorgeous to play that part). Lawrence Fishburne is a terrific Perry White in the age of newspapers dying, and Harry Lennix is back from "Man of Steel." So is Michael Shannon, stiffly.

Basically, "BvS" is a far better movie than Snyder and Cavill's "Man of Steel." I can only assume this has a lot to do with Chris Terrio, who wrote "Argo" and seems to have sharpened the character development. In "MoS" I yawned through Superman's endless fights with General Zod. It was just repetitive. Here, there's a movie to latch onto. And I think fans will go back and back to look for more surprises. Very entertaining.

[ridiculus]

Meni sam koncept zvuči budalasto, uprkos svim stripovima koji su se trudili da dokažu suprotno. Betmen može da ima uspeha samo onoliko koliko mu Supermen dozvoli, tj. koliko se pravi slep i gluv i glup. To je posao scenariste i režisera da zamažu oči publici da nije tako. Ali kad čovek sedne i razmisli, ne znam kako može ne biti tako.

Nema veze s kvalitetom dotičnog filma - samo sam morao da kažem.