The Crippled Corner

[crippled_avenger]

Mehmete, posle gledanja CHAPPIEja, vreme je da rehabilituješ ELYSIUM. Neverovatno je kako Blomkamp pravi sjajne filmove posle DISTRICT 9 koji nailaze na nerazumevanje, praktično flopuju u Americi ali isto tako i breakevenuju u ostatku sveta jer zapravo iako Holivud danas crpi 70 posto prihoda van Amerike, Blomkamp je jedini holivudski reditelj koji se toj publici zaista i obraća.


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[Aco Popara Zver]

Blomkampu se dva puta gleda kroz prste... zato će Alien boljeti.

[Meho Krljic]

Ja se ne sećam da sam bio ekstremno negativan spram Elizijuma. Nije to SJAJAN film ali ima svoje dobre strane i ne treba se povoditi za internetom na kome je sve ili best thing ever ili raspinjanja vredan greh.

U drugim vestima:


North Korea Willing to Reconcile Unless Seoul 'Opts for War'

North Korea's ruling party adopted a resolution on the third day of its first full congress in 36 years to strive toward a more prosperous and modern economy and stressed that it will push for the peaceful reunification of Korean Peninsula, but warned that if Seoul "opts for a war" its military will mercilessly wipeout all opposition.
The resolution was adopted by the congress on Sunday, but foreign journalists brought into the country to cover the biggest political event in North Korea in decades have not been allowed inside the meeting hall to see the proceedings and must rely on the North's state-run media, which has been reporting the events hours later, or even on the following day.
A Korean Central News Agency report Monday said the congress was to enter its fourth day after hearing a three-hour speech by leader Kim Jong Un the previous day reviewing the country's situation and progress since the last congress was held in 1980, before Kim was born.
In his speech, Kim announced a five-year economic plan, the first one made public since the 1980s, when his grandfather, "eternal president" and national founder Kim Il Sung, was in power.
The speech, in which he said North Korea was a responsible nuclear state that will not use its nuclear weapons first unless its sovereignty was threatened, underscores Kim's dual focus on building up the military while trying to kick-start the North's economy, which has seen some growth in recent years but remains hamstrung by international sanctions over its nuclear program.
Walking a fine balance between the two, he said the North is willing to develop friendly relations even with countries that had in the past been hostile toward it — a possible overture to the United States.
But he made clear that the North has no intention of unilaterally giving up its nuclear program or bending to international pressure aimed at forcing its regime into decline or collapse.
Kim said North Korea "will sincerely fulfill its duties for the nonproliferation of nuclear weapons and work to realize the denuclearization of the world," but that statement is predicated on other countries — again, mainly the United States — also giving up their weapons, a highly unlikely scenario.
The congress is something of a formal inauguration for Kim Jong Un, who became leader after his father's death in 2011.
But it also suggests he is more oriented toward working through the party and formal government organs to achieve his goals, unlike Kim Jong Il, who never called a party congress and preferred to work through his own personal network of trusted individuals to get things done.
On South Korea, Kim Jong Un stressed the need for talks to ease cross-border animosities and emphasized reunification under a federal system, a decades-old proposal that would largely keep the North's brand of socialism intact that has received no traction with Seoul.
"But if the South Korean authorities opt for a war, persisting in the unreasonable 'unification of social systems,' we will turn out in the just war to mercilessly wipe out the anti-reunification forces and achieve the historic cause of national reunification, long-cherished desire of all Koreans," he said.
South Korea's Unification Ministry on Monday dismissed Kim's offer for talks as "propaganda" that lacks sincerity. Spokesman Jeong Joon Hee told reporters that talks can resume only when North Korea demonstrates how sincere it's about nuclear disarmament.
Though North Korea appears to be making significant progress in developing what it calls a nuclear deterrent, its economy is still recovering from the collapse of the Soviet Union and its East bloc allies and a massive famine in the 1990s. It depends heavily on trade with China and has fallen light years behind its southern rival.
Kim identified a number of key areas, including the country's power supply, agriculture and light-manufacturing production, as critical parts of the program. Kim stressed that the country needs to increase its international trade and engagement in the global economy, but didn't announce any significant reforms or plans to adopt capitalist-style marketization.
Detailing the economic policy in such a public way demonstrated that Kim is taking ownership of the country's economic problems, something his father avoided as leader.
Kim has promised to improve living standards and the focus of the congress on the economy reflects that. But it was also decidedly conservative in its wording — giving no hint that fundamental changes are in the offing on how the state-run economy functions.
Market-style business has become more common in North Korea, in large part because of its economic crisis and famine of the 1990s, which made it impossible for the government to provide its citizens with the necessities and forced many to learn how to fend for themselves.
But while the realities on the ground have shifted, officials have been reluctant to formally embrace significant reforms as state policy.
Even so, the North has given individual enterprises more autonomy in managing themselves so that they can become more efficient.
That has led to increased salaries for better-performing workers and, to some extent, increased production on at least some farms, where farmers have more incentive to produce more so that their own take — what's left after meeting government quotas — is bolstered and can be sold in markets for a profit.
Still remaining on the agenda of the congress, which gathers more than 3,400 delegates at the ornate April 25 House of Culture, are elections to give Kim the party's top post — he is already its first secretary, and his father posthumously holds the title of "eternal general-secretary" — and for other party leadership positions.
Though no date has been announced, and surprises can never be ruled out, the congress was expected to go on for a couple more days.
Mass rallies will likely be held to mark its conclusion in a celebratory fashion.

[crippled_avenger]

Kod Blomkampa još samo treba da se utvrdi da li će biti novi Cameron ili novi Verhoeven...


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[Ugly MF]

...nemoj samo da bude Uwe Bol...
ali bliži je Verhovenovim atmosferama, mada ni ovaj Avatar nije remek delo kao Aliens...

[crippled_avenger]

Mehmete,

Mislim da se oseća moj uticaj. Koliko toliko...

http://www.vice.com/rs/read/stoya-nam-prica-o-svom-prvom-ne-porno-filmu-i-tome-zasto-zeli-da-radi-samo-sa-srbima

[Meho Krljic]

Mislim da i Stoja uviđa da se, dok tebe nije srela, besciljno teturala kroz život. Sada je spoznala svoju svrhu i, nadamo se, zgrabila sudbinu čvrsto u svoje šake. A Jamesa Deena ćemo da nalupamo ako dođe u Srbiju.

[crippled_avenger]

U novoj vladi očekujem mesto Zavetnika za kinematografiju.

[crippled_avenger]

Pogledao THE HEART MACHINE Zahcaryja Wigona, u kome John Gallagher Jr i Kate Lyn Sheil igraju noseće uloge. Njih dvoje su protagonisti priče o paru koji pokušava da održi vezu na daljinu. Jednog dana, momak posumnja da mu devojka zapravo nije u Berlinu kako tvrdi već par blokova dalje u njegovom gradu. Kreće da je traži...

THE HEART MACHINE ovako prepričan zvuči kao zanimljivo promišljanje savremenih odnosa koji se odvijaju preko interneta, socijalnih mreža i sl. Nažalost sam film je više jedna mumblecore studija stanja, koja je povremeno vizuelno zanimljiva a povremeno na nivou studenstkog filma, sa scenarijem koji ponekad gradi neku dobru situaciju ali je veći deo vremena prilično bezveze.

Najveći adut su dva sjajna glumca u centru dešavanja. Nažalost, oni ne mogu da uzdignu materijal, štaviše oni svojim kvalitetom otkrivaju koliko je ovaj materijal ispod njihovog nivoa.

Gotovo da je neumesno ovaj film porediti sa PANAMOM Pavla Vučkovića jer je Vučkovićev film sigurno imao veći budžet ali je bolji i na svim drugim nivoima izraza. No, priličan je poraz za američki nezavisni film kada ga je čak i srpski film na istu ili sličnu temu pregazio.

THE HEART MACHINE se može izdržati do kraja samo zahvaljujući sjajnim glumcima i ponekoj dobro iskorišćenoj lokaciji.

* * / * * * *

[Biki]

Wow ta Stoja je full of BS

[mac]

To je prilično subjektivna i na ovom topiku čak i zapaljiva izjava. Možeš li da je elaboriraš, ili je cilj bio izazivanje emotivne reakcije (tj. trolovanje)?

[Biki]

Nista vise subjektivan nego ostali komentari drugih diskutanata. No da obrazlozim. Tzv Stoja, porno glumica, samozvana " streberka", navodno "glumi" u izvesnom no porn filmu i sad je to senzacija.
Da krenem od tzv Stoje, koja u Americi nije uspela nista drugo da uradi od svog mladog i talentovanog zivota nego da se slika gola po NY i snima porno filmove donosi zakljucak da je Srbija eto bolja od Amerike jer Boze moj u Srbiji moze da sedi u restoranu a da je neki nepoznati muskarac ne maltretita. Big big BS. Odgomna, prljava laz. Onako bas izaziva mucninu.
Film je katastrofa. Buckuris svega i svacega vec vidjenog. Mesanje nespojivih stvari. Naziv filma na engleskom ali za Boga miloga sta zapravo znaci taj naziv?Ederlezi je naziv Romskog praznika. Kakve veze to ima sa severno koreanskom komunizmom? Povrh svega tu je Milutin ( ukaljase tako lepo ime) sadista koji resava da svog androidnog roba Nimani ( fu*king seriously !? No other name to choose!?) pretvori u ljudsko bice. Ah! Kak je to romanticno.
I onda sve to treba da bude cool ?
Well it's not, not to me.Sorry I don't like it. Ko voli nek uziva, ne branim.

[Aco Popara Zver]

Јасно је да је комбинација ризичнија од покуса Илије Курјака. Постоји свега пар начина да буде успјешна, и постоји милион верзија пропасти. Али морамо имати вјере у Стоју.

[Biki]

Da znas Bato da me je malo podsetilo na Dragog u visokom dvorcu. I to ne zbog pornicarenja vec zbog nemanja pojma te iznosenja dezinformacija i propagande.

[Aco Popara Zver]

што дезинформација? Па расисти јесу снимали филмове у Америци и гласају за Трампа

Стога, што не би спопадали Стоју у Лос Анђелесу... па спопадали би је и у Београду да су је препознали

[mac]

Možda bi, možda i ne bi. Kako bi pa znao šta bi drugi radili? Za sebe znam da ne bih nikog uznemiravao, koliko god da je poznat i popularan. Kultura u Americi je drugačija, mnogo su neposredniji sa potpuno nepoznatim osobama, a poznate osobe čak i doživljavaju kao poznanike, pa onda sebi dozvoljavaju i veću prisnost s njima.

[Aco Popara Zver]

Да, ал ти ниси напаљени манијак... или јеси?

[mac]

Poremećene osobe ovde nemaju para za kafiće, jer sve troše na lekove, i male su šanse da će se sresti sa Stojom.

[Aco Popara Zver]

Ко пије лијекове, Змај од Шипова?

[Ugly MF]

Mehmete,

Mislim da se oseća moj uticaj. Koliko toliko...

http://www.vice.com/rs/read/stoya-nam-prica-o-svom-prvom-ne-porno-filmu-i-tome-zasto-zeli-da-radi-samo-sa-srbima

...Čaruga, majke ti, jesil' ti to.....

[crippled_avenger]

Stari gleda na filmove o Olimpijadi iz neobičnog ugla

http://www.beforeafter.rs/drustvo/ne-veruj-zeni-koja-juri-olimpijsku-normu/


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[crippled_avenger]

Pogledao sam HUSH Marka Flanagana, konvencionalni slasher o gluvoj spisateljici koju napada ubica koljač i kada shvati da mu je prelako da je ubije kreće da je sadistički maltretira. Film je pre svega opterećen tehnikom te situacije i realizovan je prilično dobro, po scenariju koji potpisuju Flanagan i izvanredna glavna glumica Kate Siegel. John Gallagher Jr je slabo iskorišćen kao psihopata-koljač. On je odličan glumac ali ovde nije dobio materijal sa kojim bi zaista nešto mogao da uradi. Otud, lucidna rešenja su mahom sačuvana za glavnu junakinju dok je ubica tek korektno predstavljen. Ubičin motiv je sadizam, i kreće kao maskirani koljač kao u SCREAMu, međutim do kraja ne dobijamo neku atipičnost u njemu niti je njegovo pojavljivanje dovoljno motivisano.

U svakom slučaju, HUSH je dobro realizovan slasher i to mi je predstavljalo osveženje jer iskreno odavno nisam ni nailazio na konvencionalne slashere ovog tipa. Ipak, filmu nedostaje još jedan sloj pre svega u razradi negativca da bi se nametnuo kao istinski solidan programmer a zaista mu puno nedostaje da bi bio depalmijanska ili cravenovska dopuna žanrovskom korupusu. HUSH je pristojno izvedena konfekcija sa natprosečno kvalitetnog glumačkom podelom koja je mogla pružiti i više.

* * 1/2 / * * * *

[Meho Krljic]

Cripple nije jedini koji veruje u ovaj IP:


Fantastic Four: Simon Kinberg wants same cast for "brighter" sequel

Exclusive: producer Simon Kinberg says another Fantastic Four movie is still alive at Fox, with the same cast and a "brighter" tone.   Mired by rumours of behind-the-scenes problems and released to a hostile response, 2015's Fantastic Four was far from the franchise reboot Fox wanted. Indeed, the removal of Fantastic Four 2 from the studio's schedule (it was once slated for the summer of 2017) might suggest that a sequel's out of a question.
According to producer and co-writer Simon Kinberg, however, there's still appetite for a sequel at Fox - even if they have gone back to the drawing board for now. When we brought the subject of Fantastic Four 2 up at the junket for X-Men: Apocalypse, Kinberg made no secret of his feelings about the 2015 film and its dramatic departure from the comics.
"We didn't make a good movie," Kinberg said, "and the world voted, and I think they probably voted correctly. And you can't make a good movie every time out - not everybody does. We actually have a pretty good batting average, all things considered. But I think we made many mistakes when we made that movie - mistakes that we learned from and we wouldn't repeat."
At the same time, Kinberg said that the desire to make another Fantastic Four at Fox still remains - and with the same core cast of the last film:
"We want to make another Fantastic Four movie. We love that cast - I mean if I were to say to you now Michael B Jordan and Miles Teller, and Kate [Mara] and Jamie [Bell] are great actors - we love that cast. I love the comic, I mean I love it almost as much as X-Men."
If it happens, the next Fantastic Four movie would, Kinberg adds, be closer in tone to the comics - so far less of the Cronenbergian body horror than we got in Josh Trank's reboot.
"We'll try to be truer to the essence of the tone of Fantastic Four, which is completely - well, not completely, but largely - distinct from the X-Men, which is brighter, funner, more optimistic tone. I think we tried to make a darker Fantastic Four movie, which seemed like a radical idea but we were kind of messing with the DNA of the actual comic instead of trusting the DNA of the comic."
At this stage, it's far from clear whether another Fantastic Four film will happen, though Kinberg seems upbeat about its chances.
"We're working really hard on figuring that out," he said. "Nothing would make me happier than the world embracing a Fantastic Four movie."
More on this as we get it.

[crippled_avenger]

Michael B. Jordan is in talks to join Chadwick Boseman in Marvel's "Black Panther," sources confirmed to Variety.

Lupita Nyong'o is also currently in negotiations to board the film as Black Panther's love interest.

"Creed" helmer Ryan Coogler will direct the movie, which stars Boseman as T'Challa, the prince of the African nation of Wakanda, who must take over the mantel after his father's murder. Marvel unveiled the character in "Captain America: Civil War" before the standalone film bows on Feb. 16, 2018.

Jordan's role is unknown at this time.

Joe Robert Cole is co-penning the script with Coogler. Kevin Feige is producing the movie.

The role would reteam Jordan with Coogler; the duo worked together on "Creed" and "Fruitvale Station." Jordan is hot on the heels of relaunching the "Rocky" franchise with "Creed." He is attached to star in a remake of "The Thomas Crown Affair" for MGM, as well as the adaptation of "Just Mercy" which has "Short Term 12" helmer Destin Cretton directing.

Jordan is repped by WME. The news was first reported by the Hollywood Reporter.


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[Meho Krljic]

Ako Džordan to učini, morao bi da bude Human Torch!!!!!!! Fox je valjda toliko pametan da vidi da im je to ipak šansa da od FF naprave nešto!!!!!!!!!!

[crippled_avenger]

Ja se iskreno nadam da jeste Human Torch. Sve drugo je besmisleno...


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[Meho Krljic]

 Martin Scorsese, Robert De Niro, AND Al Pacino? Why We're Rooting for 'The Irishman' 

If there were monuments to director-actor teams, Martin Scorsese and Robert De Niro would definitely have a spot on Mount Rushmore. Their two-decade collaboration, from 1973's Mean Streets to 1995's Casino, gave us three undisputed contemporary classics in Taxi Driver, Raging Bull, and Goodfellas.
Even with a 21-year break in their professional relationship since Casino (excepting their lighthearted participation in the DreamWorks cartoon Shark Tale), their rapport clearly endures. Appearing alongside each other at a 40th anniversary Tribeca Film Festival screening of Taxi Driver in April, Scorsese and De Niro easily traded stories about how they brought mentally unstable cabbie Travis Bickle to life.
Related: Watch Robert De Niro and Anne Hathaway Talk About the First Time They Fell in Love With Acting

Cut to a month later, and that Taxi Driver event may just have been a prelude to something bigger. Variety is reporting from the Cannes Film Festival that not only could a deal for the long-planned Scorsese/De Niro reunion project, The Irishman, finally be made available to international financiers, but that the project would also include De Niro's Heat co-star and fellow acting icon, Al Pacino (believe it or not, this would be the first time for Pacino in a Scorsese film), and Oscar-winning Goodfellas co-star Joe Pesci.

According to the Variety story, The Irishman, a '70s-era gangster film, has been languishing at Paramount, the studio that released Scorsese's 2013 hit, The Wolf of Wall Street. Now, Variety reports, the studio may allow it to find new backers for the right price. (No matter who ends up financing it, Paramount would be the movie's U.S. distributor.)
Based on Charles Brandt's 2003 book, I Heard You Paint Houses, The Irishman would focus on the bloody career of hit man Frank Sheeran, famed for being Jimmy Hoffa's best friend — and possible killer. De Niro would play Sheeran. The Variety piece also reports that the actors would play younger versions of their characters in flashbacks, using the same digital trickery that de-aged Robert Downey Jr. to his Less Than Zero self in Captain America: Civil War and restored Michael Douglas to his Wall Street prime in Ant-Man.
No matter how many years he gets shaved off onscreen, the prospect of De Niro teaming up with Scorsese one more time should make any film lover feel young at heart. In the years since Casino, the director — whose next film, Silence, is expected to arrive later this year — has pursued an artistically rewarding (and financially lucrative) collaboration with Leonardo DiCaprio, while De Niro's recent track record has been a bit ... well, spottier. (Scorsese's past and present muses both appeared in his 2015 short film, The Audition, which has only screened at a Macau casino.)


What's so exciting about The Irishman is the hope there's one more career-defining De Niro role in a Scorsese film yet to add to Travis Bickle, Jake LaMotta, Rupert Pupkin, and Max Cady. The two men have rarely spoken about what the exact nature of their dynamic is, which makes it feel that much more rare and special. "I'd like to think we melted into each other kind of in a way," Scorsese told Jimmy Fallon during an appearance on The Tonight Show in February. And keeping it vague is probably for the best. After all, it's the end result of their process that most concerns — and benefits — us. With 2016 already providing us with plenty of evidence that we shouldn't take any of our beloved artists for granted, clearing the way for Scorsese and De Niro to put a capstone on their career-long collaboration with The Irishman seems like a global cinematic imperative.   

[crippled_avenger]

Russell Crowe and Ryan Gosling score in Shane Black's latest lethal weapon, a crackerjack '70s comedy of aggression

In "The Nice Guys," a smashingly disreputable mystery-comedy free-for-all directed with a wink of trashy zest by Shane Black, Russell Crowe plays a freelance thug for hire — the sort of guy who will keep your teenage daughter from dating a druggie sleazebag by paying a visit to the sleazebag's house and bashing him in the face with brass knuckles. (It's amazing how effective that is.) The films tosses Crowe together with a sweetly shambling private detective, played by Ryan Gosling, who's as earnest and inept as his new partner is brusquely violent. It's 1977, and these two cruise around Los Angeles against a backdrop of polyester boogie-nights tackiness, busting heads, crashing parties, fleeing hit men, and getting to the dirty bottom of a conspiracy that somehow combines the adult-film underworld with a scheme by the Big Three automakers to suppress the catalytic converter. (Yes, it's a PC message movie gone flesh.) "The Nice Guys" is an ultra-violent burlesque, the sort of cheerfully hostile buddy bash that's been a staple since the '80s, only this one is singularly clever about its own triviality, and it offers the scruffy pleasure of seeing two great actors dial down their gravitas with style. The movie is likely to score big with audiences, and for the same reason that it's proven to be a perfect palette cleanser at Cannes. It's a treat to see popcorn this decadent made by people who know exactly what they're doing.

The modern buddy comedy originally kicked off with "Butch Cassidy and the Sundance Kid," but the screenwriter who juiced it up into its current knockabout voltage is Shane Black, when he wrote "Lethal Weapon" in 1987. The way that movie mashed together fireball action, racially barbed insult comedy, and a general atmosphere of what-the-hell insanity made it one of the most influential throwaways of the '80s, though part of its appeal is that Black, with his gift for jabbing cutthroat patter, seemed to be glorying in the notion that he wasn't aiming very high. After penning the first "Lethal Weapon" sequel, he reinvented himself by writing and directing "Kiss Kiss Bang Bang" (2005), an off-the-wall crime thriller that was a little precious in its zingy bon mots — but you could see that Black was trying for something. Then, after a break of close to 10 years, he directed "Iron Man 3" and became a superb pop filmmaker, deepening the saga of Tony Stark with a blend of spectacle and dread that turned it into one of the most supple Marvel movies ever made. "The Nice Guys" is like a "Lethal Weapon" film made by the far wittier and more dexterous Shane Black of "Iron Man 3." The film keeps surprising you, so that you never feel you're watching a fists-meets-yocks-meets-corruption formula (even when you are).

At a certain point, you may gawk at a Hollywood leading man and think that he's looking a little chunky, a little jowly, a little used. Then there's the point when that actor has carried his used aura for so long that he starts letting it define him; he begins to use it himself. That's where Russell Crowe is at in "The Nice Guys." His Jackson Healy, squinty and rotund in a dirty light blue leather jacket, with hair combed back into a DA, is sort of like a loan shark, except that he doesn't work for the Mob. He'll work for anyone who can scrape together a few lousy bucks. What's fun about watching him is that he treats the savagery of his job as casually as if he were filling out a tax form. Crowe, deftly exploiting the irony of the film's title, makes Jackson a courtly bruiser, a guy who will beat the crap out of anyone — but only as a means to an end. (The fact that he might enjoy it is deeply buried subtext.) Early on, he's assigned to pay a visit to Holland March (Gosling) to take him off a case. He snaps his wrist in two — which, in this movie, is the equivalent of a handshake. Sure enough, the two are soon working together, assigned to locate Amelia (Margaret Qualley), a barefoot brunette in a yellow dress who keeps popping up like an apparition. She starred in her boyfriend's "experimental" – that is, naked — movie, and then his house burned down, and a vicious thug named John Boy (Matt Bomer, in creepy bangs) is desperate to get hold of the movie. But why?

At first, Holland stares at his partner with a glint of farcical terror. Gosling, among his many talents, has blossomed into an inspired physical comedian, and it's a hoot to watch him converse with Crowe from a bathroom stall as he tries to fumblingly prop open the door, point a gun, and hold a magazine over his junk at the same time. But Holland is most funny when parading his self-schooled cluelessness. He's blitzed and myopically sincere, as when he confronts a reckless cop who says that he was "just following orders" by righteously proclaiming, "You know who else was just following orders? Hitler!" Gosling invests that line with so much conviction that we can't help but notice that Holland got it half-right, and that it's almost touching in its hilarity.

For a movie set in the late '70s, "The Nice Guys" has a great deal of spangly atmosphere — Philippe Rousselot's cinematography gives L.A. a night-bloom glow — but not, in the end, a lot of period authenticity. Earth, Wind & Fire, portrayed by actors, perform at a party hosted by a porn producer, but why, only minutes before, do we hear EWF's "Boogie Wonderland" on the soundtrack — a song that didn't come out until two years later? Holland dresses in swirly psychedelic shirts, and there are references to the novelty of no-fault divorce, but these are token signifiers that never add up to the loosey-goosey stoned sleaze of the '70s.

Then again, what's so much fun about "The Nice Guys" is that its casually remorseless hostility, reflected in everything from the drop-dead wisecracks to the slapstick cruelty of its violence, expresses nothing so much as the spirit of today. There's a great moment when our heroes have ridden up a hotel elevator to ambush a villain, and as the elevator door opens we see a body clawing the corridor wall, then another one being shot, and our heroes duck back into the elevator, with a "We don't need this" shrug. The timing of the gag is exquisite, because it's Black's way of expressing what it feels like when whatever you're expecting is almost certain to turn out worse. In "The Nice Guys," the cynical moxie that was just a mayhem-fueled joke in the "Lethal Weapon" films here gets pushed into something a shade more resonant — a comedy of resigned aggression, where everyone is trolling everyone else.

Cannes Film Review: 'The Nice Guys'
Reviewed at the Cannes Film Festival (noncompeting), May 15, 2016. MPAA Rating: R. Running time: 116 MIN.
Production
A Warner Bros. release of a Silver Pictures, Waypoint Entertainment, RatPac-Dune Entertainment production. Produced by Joel Silver. Executive producers, Anthony Bagarozzi, Ken Kao, Michael J. Malone, Hal Sadoff. Co-producers, Aaron Auch, Ethan Erwin.

[Meho Krljic]

Ajd videćemo. Trejler ima tu spektakularnu scenu u veceu ali opet... treba biti oprezan.

[crippled_avenger]

Pogledao sam OUR KIND OF TRAITOR Susanne White. Nažalost, ovo je još jedna vrlo slaba adaptacija romana Johna le Carrea. Uprkos tome što je scenario pisao ugledni Hossein Amini i što je sam le Carre producirao film, pa se čak i pojavio kao Stan Lee u kameo ulozi, što mu je u poslednje vrem postao običaj, ova ekranizacija je jako daleko od kvaliteta koji su imale le Carreove adaptacije u poslednje vreme, od TAILOR OF PANAMA preko CONSTANT GARDENERa do TINKER TAILOS SOLDIER SPY. Ovo je banalan, neuverljiv, televizijski realizovan euro špjjunac, sa atraktivnom podelom ali krajnje površnim karakterizacijama.

Ewan McGregor i Naomie Harris su divna podela za centralni par ali su njihovi likovi potpuno neuverljivi, sa preduzimljivošću koja je pre karakteristična za neki eskapistički akcijaš nego za ekranizaciju le Carrea. Damien Lewis je potpuno jeziv u ulozi MI6 obaveštajca koji im je handler, sa sve napućivanjem usana da bi ličio na karakternog glumca iz neke od starih le Carreovih ekranizacija.

Povrh svega, Anthony Dod Mantle nije adekvatno iskorišćen kao DP i Susanna White koja ima sjajne rezultate na televiziji potpisuje režiju koja je krajnje televizijska, flah, bez prave filmske ekspresije. Po mnogo čemu OUR KIND OF TRAITOR podseća na NIGHT MANAGER, koji takođe nije bio dobro režirana televizija.

Čini mi se da sam le Carre kao učesnik ovih ekranizacija ima pogrešnu percepciju vlastitog rada i to je najveća šteta.

Za nas je zanimljivo da Raša Bukvić ima malu, a Velibor Topić nešto veću ulogu u filmu.

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[crippled_avenger]

Pogledao sam SMRT U SARAJEVU Danisa Tanovića. Reč je o novom festivalskom uspehu bosanskog filma i novom koraku u novom pravcu za Tanovića. SMRT U SARAJEVU po svom sadržaju ima sve predispozicije da bude gadan antisrpski film ali nije, i to je možda najzanimljivija stvar u vezi sa njim. Naime, Tanović je svoju festivalsku rehabilitaciju posle serije nezapaženih filmova posle oskara za NIČIJU ZEMLJU doživeo upravo kada se omanuo antisrpskih tema i postao levičar.

Zato u SMRTI U SARAJEVU, Tanović pravi film koji tematizuje EU, i neokolonijalne odnose u Bosni, i na Balkanu, a sve to prelama na prvo loptu, i na sve šutira iz prve. Film je baziran na ispovestima junaka u raznim formama, scenario je napisan u maniru političke drame, svaki lik ima neku svoju životnu, klasnu, samim tim ideološku poziciju, a tako je koncipiran i zaplet.

U hotelu EVROPA se organizuje proslava EU, to su dani diskusije o EU i Gavrilu Principu. Na krovu hotela, televizija snima izjave raznih sagovornika koji bukvalno iznose teze o Gavrilu Principu. U podrumskim prostorijama hotela se sprema štrajk radnika hotela koji hoće da se pobune baš pred TV kamerama. Upravnik hotela verujući da će moći da isplati plate radnicima odlučuje da se obrati za pomoć lokalnom kriminalcu koji iznajmljuje prostor hotela za svoju kockarnicu i striptiz klub... A uporedo, u hotel stiže francuski glumac Jacques Weber koji se priprema da uveče izvede monodramu Bernard Henri Levyja.

Svi ovi elementi deluju potencijalno antisrpski ali kako rekoh, Danis Tanović više nije bošnjačka žrtva, on je sada levičar, pa je i sam Bernard Henri Levy sa svojom predstavom na određeni način potkačen u filmu jer je glumac izvodi na nekom besmislenom, uzaludnom EU skupu, koji film zapravo osuđuje i ismeva.

U jednom momentu se pojavi lik Srbina koji se zove Gavrilo Princip i iznosi srpsko viđenje rata u Bosni, i u principu ne samo da se dobro drži, već na kraju postaje pozitivni lik, i to ne zato što je odustao od svog ratnog nacionalizma, nego zato što je spoznao da su sada drugi problemi aktuelni a na vrhuncu filma, on i gine, u jednoj dosta stupidnoj sceni koju samo reditelj ograničenog talenta poput Danisa Tanovića može smatrati klimaksom bilo čega...

Tanović je međutim u svom levičarenju inkluzivan i mudro shvata kako je to sadašnji bubble na kom treba insistirati, pa očigledno ni rezultati nisu izostali. Jasno je da će i srpski film u predstojećem periodu preći iz autošovinističke faze u socijalno angažovanu fazu, ponovo kaskajući za Bosnom.

Inače, Tanović sada kao ima novi rediteljski koncpet, a to je imitiranje ovih festivalskih filmova u kojima se kamera kreće za junakom dok hoda, snimajući ga s leđe. Međutim, u većini slučajeva kada se kamerqa končano zaustavi za jednu razmenu dijaloga, Tanović odustaje od kadar-sekvence i snima klasičnu plan-kontraplan strukturu. Dakle, ovo je film koji pretenduje da bude stilski upečatljiv, fluidan, da povezuje likove i prostora ali u tome nije konzistentan.

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[lilit]

kripe, gde ovo može da se pogleda?

[Aco Popara Zver]

http://www.krstarica.com/lat/beograd/bioskopi/

ha, znači ni Beč nema!

[lilit]

fala bato,
sad još samo da vidim kako film da iskombinujem s burekom

[crippled_avenger]

Možda dođe do Beča?

[crippled_avenger]

Mehmete, mislim da je vreme da nađeš malo vremena za sebe...

Warner Bros. and DC Entertainment are developing a new standalone movie featuring an all-star cast of female DC heroes and villains with Margot Robbie attached to reprise her role of Harley Quinn.

Robbie will also produce the pic, which will not only feature Quinn, but popular characters such as Batgirl and Birds of Prey also making appearances. Who exactly will be considered the lead opposite Robbie is still unknown. Exact plot details are also unknown currently.

Robbie will first appear as Quinn in "Suicide Squad" opposite Will Smith and Jared Leto. Though the film doesn't bow until August, Robbie has already garnered attention for her performance as the fan-favorite character, which studio had always seemed interested in spinning off to other movies.

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Robbie has not only "Suicide Squad" debuting this summer, but also "Legend of Tarzan" coming out in July, where she will star as Jane opposite Alexander Skarsgard.

Robbie is repped by CAA, Management 360, Aran Michael Management and Jackoway Tyerman. The Hollywood Reporter first reported the news.

[crippled_avenger]

Pogledao sam KILL COMMAND Steve Gomeza, britanski niskobudžetni SF film, produkciju Nicka Lovea, koju je kritika nazvala cameronovskom, a to u nekom savremenijem ključu znači da je i blomkampovska.  Nažalost, Steve Gomez ne uspeva da u znatnijem delu nadoknadi budžetske nedostatke kroz kreativnost. Štaviše, film je niskobudžetni ali mu to ne smeta previše u domenu efekata, sem što Gomez naravno mora da "krije" neke od aduta, odnosno mora da malo slowburnuje pretnju. Ono u čemu je mogao biti veštiji jesu konflikti unutar ekipe vojnika iz budućnosti koji odlaze na poligon da likvidiraju borbene robote koji su se pobunili protiv ljudi.

Gomez je evidentno inspirisan ALIENSom, a samim tim i EDGE OF TOMORROW a dinamika u ekipi vojnika je bazirana na sumnjama prema junakinji koja je kiborg a treba da bude na strani ljudi. Dakle, sve što ovaj film pokazuje smo videli već negde u izvrsnim SF akcijama. Otud, on ni nema šansu da se lako provuče jer na svim nivoima poziva na nepovoljna poređenja.

Scenario je korektan a to u ovim okolnostima nije dovoljno da bi se film izvdvojio i dobio neki crossover potencijal.

Pa ipak, meni kao ljubitelju tog SF imaginarijuma, KILL COMMAND na kraju krajeva nudi prijatno gledalačko iskustvo. Uprkos tome što je u ovom filmu bukvalno sve moglo biti bolje, dovoljno je dobro da zadovolji fanove dok čekaju nešto iz ovog arsenala.

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[crippled_avenger]

Stari priprema narod za premijeru THE NICE GUYS

http://www.beforeafter.rs/kultura/pod-suspenzijom/


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[lilit]

Možda dođe do Beča?

javlja mi se da će pre muhamed bregu nego breg muhamedu al nikad se ne zna

što se tiče drugog topika, videh juče al što bi se samo mehmet obradovao? okrutno!
http://m.ign.com/articles/2016/05/16/harley-quinn-movie-starring-margot-robbie-in-development

živeli

[crippled_avenger]

Australian Psycho

https://youtu.be/RWc8V-iKJ7s

[lilit]

al perfektna je! a tek glas...wow!

nego, X-Man: Apocalypse me ceka u subotu. IMAX, sredina sredine!

[crippled_avenger]

Sreća moja...


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[crippled_avenger]

Pogledao sam RACE Stephena Hopkinsa, film koji možemo smatrati jasno profilisanim produktom napravljenim za potrebe povezivanja sa ovogodišnjom Olimpijadom, ali i sa namerom da se obeleži osamdeseta godišnjica rekorda koji je postigao Jesse Owens. Hopkins je pre jedno četvrt veka bio među najperspektivnijim žanrovskim rediteljima, kada je posrnuo na bioskopskoj sceni, prešao je na televiziju i nametnuo se kao jedan od najrespektabilnijih reditelja koji je umnogome definisao izgled savremene televizije.

Posle toga se praktično nije vraćao na veliki ekran, a RACE je nažalost, uprkos tehničkoj virtuoznosti pojedinih Hopkinsovih scena, film koji je se pre može smatrati robom nego nekakvim ostvarenjem koje iskazuje bilo šta. Uprkos tome što je uspeo da u ulozi Larry Snydera ima Jasona Sudeikisa, da se u filmu pojavi Jeremy Irons ili Carice Van Houten kao Leni Riefenstahl i da Owensa ubedljivo odigra Stephan James, Hopkins i scenaristi celu stvar drže u krajnje konvencionalnim okvirima, i RACE je u tom smislu sterilniji i televizičniji čak i od nekih sličnih eskapističkih filmova o sportskim trijumfima kao što je MONTEVIDEO.

Ono što se međutim ne može osporiti filmu RACE je da u svom sterilnom maniru didaktički otvara niz kontradikcija koje su činile ovaj nastup američkog olmpijskog tima, i same Owensove medalje, i u tom pogledu RACE zaista može poslužiti kao solidna istorijska lekcija, film koji se može prikazivati u školama širom sveta.

Međutim, ako želimo pravi punokrvni film o problemima afroameričkih sportista, onda to i dalje ostaje ALI Michaela Manna. Prava je šteta što autori nisu stremili da snime takav film, polemičan, političan, ubedljiviji u realističkom smislu. Međutim, imajući u vidu činjenicu da je ALI na raznim nivoima bio izazovan publici, RACE je verovatno jednostavniji proizvod za plasman.

Šteta je što Hopkins ne radi nešto zanimljivije, ali uteha je da to što radi u principu radi dobro.

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[Meho Krljic]

Dakle, Marvel se praktično razmeće:

Netflix to adapt a Blade, Ghost Rider, and Moon Knight series 

A preko u Warneru:

More 'Batman v Superman' Fallout: Geoff Johns to Co-Lead Newly Created DC Films Division

[crippled_avenger]

Pogledao sam HJUSTON, IMAMO PROBLEM Žige Virca. Pre četiri godine ovaj film je bio u fazi finansiranja i u javnosti je prikazan trejler koji je najavljivao mockumentary o jugoslovenskom svemirskom programu koji je sakrivan od celog sveta. Po regionu je plasirana priča o tom filmu, novine su naravno svemu prišle senzacionalistički i bavile se time da lie je Tito zaista ima svemirski program, i sve je na kraju delovalo kao apsurdan hoax.

Međutim, kada se film pojavio četiri godine kasnije, ispostavilo se da je ovo priča koja je mnogo više od mockumentaryja o nečemu tako apsudnom kao što je Titov svemirski program. Naprotiv, ako je u prvoj polovini ovo jedan nestašni, jako dobro realizovani mockumentary o tome kako je SFRJ pravila rakete za put u svemir, u drugoj polovini sve se pretvara u jednu melanholičnu priču o raspadu SFRJ koja moram priznati malo kome neće zaustaviti knedlu u grlu.

Film pritom ne prestaje da bude šaljiv, povremeno neozbiljan, istorijski neprecizan ali odjednom njegova apsurdna priča počinje da govori istinu, i HJUSTON, IMAMO PROBLEM tada postaje jedna meditacija o modernizacijskom projektu Jugoslavije koji nije uspeo, o Titovom kultu ličnosti koji je vrlo slojevito tretiran, i o uticaju Zapada na procese u Jugoslavili.

Površno bi bilo reći da HJUSTON, IMAMO PROBLEM problem u drugoj polovini postaje "nešto više". On sve vreme jeste "nešto više", samo što je to u maniru najboljeg žanrovskog filma plasirano u formi koja je sama po sebi nepretenciozna i ne sugeriše da autori žele da prikažu neku "veliku istinu": I oni je ne tretiraju na taj način ali daju svoj doprinos toj višedecenijskoj debati.

Sam mockumentary je baziran na mešavini arhivskog materijala kojim je vrlo vešto manipulisano, zatim igranih scena koje su kao situacije istraživanja slučaja, i razgovora sa protagonistima od kojih su neki rađeni u talking jeads maniru a neki u formi razrađenih situacija na terenu. Kao "pokrovitelj" filma, njegov "superego" javlja se Slavoj Žižek koji ima jednu atipičnu deonicu a to je momenat kada mora da se "suoči" sa svojom ulogom u rušenju Jugoslavije, u periodu kada se zalagao za demokratiju, građansko društvo i ostale stvari kojima se danas podsmeva.

Žiga Virc suvereno vlada svim elementima izraza i u fazi kada manipuiše arhivskim materijalom, i kada pravi te skoro pa found footage rekonstrukcije. Lokacijama se izvanredno služi i na njima uspeva da izvuče maksimum, to ne važi samo za brod "Galeb" i podzemne kamponire RV i PVO već i za neke od pitomih lokacija poput Konobe na Pagu ili Kuće cveća.

Koliko vidim, dosta fondova specijalizovanih za dokumentarni film učestovalo je u realizaciji filma što je zanimljivo jer ovo de facto nije dokumentarni film iako se služi tom formom. Voleo bih da znam kako se to desilo.

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[lilit]

ovo zvuči vrlo zanimljivo, tnx.
overićemo.

[crippled_avenger]

Ovaj film je otprilike kao da je neko sve vreme čitao šta pišem, i ozbiljno shvatao


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[Meho Krljic]

Refnov novi film Neon Demon publika izviždala u Kanu i izlazila sa projekcije zgađena scenama nasilja, seksa i nekrofilije.    Sad želim da ga gledam ali onda se setim kakav je bio Only God Forgives i zabrinem se.

[crippled_avenger]

Verujem da je sličan. "Poslednji Pajkićevac" zajebava narod...

[Meho Krljic]

U drugim vestima, Kesića generalno ne  gledam na televiziji ali večeras bi to lako moglo da se desi