The Crippled Corner

[Meho Krljic]

Pa, logika  je da je internet promenio gledalačke navike. Izraz "cord cutter" se odnosi na ljude koji otkazuju pretplatu na kablovsku jer sve što ih zanima gledaju preko interneta. Sad, pošto kontent provajderi moraju i sami da nude sadržaj preko interneta jer je cord cuttera nezanemarljivo mnogo, uočeno je da mnogi od njih piratuju po celu sezonu serije i gledaju je odjednom - tzv. binge watching - pa je onda logika da ima sa legalno dostupnim sadržajem treba izaći u susret na isti način. Meni to ima smisla, jer ako hoćeš da se boriš sa piraterijom, odnosno da joj budeš razumna konkurencija, nije samo dovoljno da po ceni budeš blizu (teško da možeš da budeš isti, pošto je piraterija praktično besplatna) već i po udobnosti. Mnogi ljudi piratuju sadržaj ne jer nemaju da plate nego jer ih mrzi da se cimaju oko DRM-a, datuma , ovoga, onoga. Netflix je zato postao tako velika firma - lakše je pogledati Džesiku Džonuz preko Netflixa nego skinuti torent, bukvalno imaš manje klikova itd. A košta te bednih osam dolara mesečno da gledaš brojne serije i filmove sa istom lakoćom.

I generalno, televizija je uvela gledanje jedne epizode nedeljno kako bi te zadržala uz svoj kanal dok između pušta druge stvari koje ti možda ne bi gledao al neko drugi bi. Netflix ima drugi model gde svima stavi sve na raspolaganje u svakom trenutku i računa da ti je ponudio veću udobnost od televizije jer možeš sam da biraš kad, šta i koliko da gledaš.

[Ugly MF]

Ahaaaaaaaaaaa.
Tako dakleeeee.....
...mamu mu, nisam znao....
sad znam, tenkjuverimač!

[Meho Krljic]

Služimo narodu 

[crippled_avenger]

možeš da biraš kad i s kim i kako vatreno...


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[Meho Krljic]

Early Reviews Say Suicide Squad Is Mind-Blowing 



It wasn't too long ago that a lucky group of people got to see an early test screening of David Ayer's Suicide Squad. The reactions were extremely positive to say the least, with those in attendance calling it "insane" and "amazing." It's not just the fans who are digging the flick either, as Warner Bros. is apparently so high on it that they've already started ordering up spinoffs for characters like Harley Quinn and Boomerang.
So, all seems to be going well for the studio's supervillain team, and today's bit of news doesn't do anything to change that. Apparently there was another test screening held in California this weekend and reactions are now starting to pour out over social media, as they tend to do.
    Taking to Twitter and Reddit, a few of those who were lucky enough to be in attendance have shared their thoughts, and it seems to be all pretty positive. Take a look below to see what people are saying about the latest test screening for Suicide Squad, and don't worry, there are no spoilers to be found here.

 

Reddit User: soyodu
"This was an advanced screening where we didn't know what the movie was. Initially I thought it was Trek, IDR or Bourne, until the NDA said Warner Brothers on it. I will tell you there was NO standing ovation, but a decent amount of people clapped in the end. In fact, when they first told us we were going to see a screening of the movie, pretty much the whole theater cheered and screamed. At the end, probably only half clapped...which doesn't mean the other half didn't like it, but if this was like a thursday night showing with fanboys, I have no doubt it would have been a much bigger applause...
This is an unfinished cut. There was lots that I really liked, good action, pacing (for the most part). But as I've said there were 2 characters who had a decent sized role in the plot/story that did not connect with me. I could care less about them. They tried for an emotional scene and yea...didn't work. But yes, walking out, I've heard a few people raving about it, and a few just good/pretty good. The person I was sitting next to came with his family and he didn't even know the movie after they announced it (older guy) and he said it was ok. I didn't stick around to hear if anyone had anything bad to say."
Reddit User: Malachim
"You will like every single member of the Squad, with Harley (obviously) stealing the show. She's a star and everyone will love her. This is the type of movie that demands a sequel. I'm sure critics will find ways to hate it (it's basically a gritty action movie with comic book characters and a Hot Topic aesthetic, which honestly might turn critics off), but DC fans will like it. The BIG thing is that the movie literally saves DCEU Batman. This Batman is BTAS personified."

Just Saw #SuicideSquad in Sacramento. #BlownAway David Ayer is a damned genius.
— Spencer Dennison (@ThrowAway123157) June 3, 2016

#SuicideSquad had what #BatmanvSuperman desperately needed.
Fun.
— Spencer Dennison (@ThrowAway123157) June 3, 2016

Looking back at the @ScottEastwood rumors is pretty comical.
— Spencer Dennison (@ThrowAway123157) June 3, 2016

Got to see #SuicideSquad yesterday during a pre-movie screening, absolutely great! I knew it would be good, but it turned out to be awesome!
— Taemin Legs (@JunsusChin) June 3, 2016

Saw an early screening of Suicide Squad. It blew my mind. Best DC movie I've ever seen!
— Scott C (@Jeffrey_Scott41) June 3, 2016

So, there you have it. Once again it seems that people are very pleased with what they're seeing. What's important to note here, too, is that apparently the first screening was mostly for DC fans, while this one was just for a random audience. Even with that in mind though, it's important not to place too much stock into these reactions. The test screenings for Batman V Superman: Dawn of Justice were incredibly positive as well, and we all know how that film turned out.
Regardless, I think people are feeling a lot more confident about Suicide Squad than they were about Snyder's flick. And with only about two months to go now until it hits theatres, we really don't have long to wait before we can see for ourselves just how well Ayer's movie turned out. 

[crippled_avenger]

Mehmete, moja majka je iz kraja u kom je pronađen kriptonit. Mislim da nisam imao izbora nego da se opredelim za DC...

SRBIJA je i dalje jedino mesto u svetu na kojem je pronađen kriptonit, do 2004. godine izmišljeni mineral sa planete Kripton iz filmskog serijala o Supermenu. Nakon što je ova vest pre više od deceniju "odzvonila" u čitavom svetu, pronalazak jedinstvenog minerala nije ipak ostao samo na nivou - jednodnevne svetske vesti.

Lozničani, gde je mineral i pronađen, preimenovali su ga u jadarit, po reci Jadar u blizini, a uveliko se spremaju da - počnu da kopaju i obezbede više od deset procenata svetske potražnje za baterijama i vozilima na električni pogon. Kada će tačno krenuti iskopavanje i da li će radno sposobni meštani dočekati da "napune džepove" od ovog pronalaska - niko ne može da kaže.

Mineral koji u svom sastavu ima litijum i bor, koji imaju široku primenu u industriji, ipak su pre 12 godina pronašli geolozi privatne firme "Rio Tinto", ćerke kompanije "Rio Tinto grupe". U toku su istražne radnje, od kojih će Srbija do kraja 2017. godine direktno dobiti 20 miliona dolara, a ova kompanija je do sada uložila 70 miliona dolara u projekat "Jadar".
SNABDEVAJU TREĆINU ZEMLjINE KUGLE
U okviru "Rio Tinto grupe" posluje grupacija "Rio Tinto minerali", koja snabdeva 30 odsto svetskih zaliha rafinisanih borata iz svog rudnika u pustinji Mohave u Kaliforniji, jednom od najbogatijih ležišta bora na svetu. Borati su ključni sastojak u stotinama proizvoda, uključujući staklo, staklena vlakna, keramiku, đubriva, sredstva za zaštitu drveta i deterdžente.

- Ležište Jadar je ležište litijuma i bora svetske klase i među najvećim je ležištima litijuma na svetu - kažu iz "Rio Tinta". - Srbija je i dalje jedino mesto na svetu gde je pronađen jadarit, a ukoliko bude razvijen, projekat "Jadar" će obuhvatiti moderan rudnik i fabriku za preradu rude i mogao bi da snabdeva više od 10 procenata svetske potražnje za litijumom u dalje proizvodne namene. U toku su studije koje će odrediti optimalnu veličinu buduće operacije, koja bi radila komplementarno sa postojećim rudnikom borata u vlasništvu "Rio Tinto minerala" u južnoj Kaliforniji.

Svakom daljem koraku posebno se raduju Lozničani i meštani okolnih sela - Slatine, Jarebica, Stupnice, Draginca, jer će samo u prvoj fazi eksploatacije rude posao dobiti 800 do 1.000 ljudi.

- Ukoliko dođe do finalizacije i mineral počne da se kopa, to neće biti veliki posao za Loznicu, već za celu Srbiju - kaže Vidoje Petrović, gradonačelnik Loznice. - Ne mogu da govorim o tačnim brojkama i koliko bi novca naša zemlja mogla tačno da dobije od rudne rente, ali se radi o svetskim isporukama litijuma, što bi moglo da donese i nove poslove vredne više milijardi dolara. Zapošljavaćemo rudare, kopače, tehničare, ali i inženjere. Loznica bi mogla da postane centar tehničkih ostvarenja u čitavom regionu, a već treba da razmišljamo i o novim kadrovima srednjeg obrazovanja koje bismo obučavali za ovaj posao.

Petrović još dodaje da grad ima dobru saradnju sa "Rio Tintom". Sve u nadi obostrane koristi.

STUDIJA I DOZVOLE

- Početkom 2016. godine, kompanija "Rio Tinto" odobrila je sredstva neophodna za završetak Studije prethodne opravdanosti projekta litijuma i bora "Jadar" u Srbiji, a Vlada Republike Srbije nedavno je produžila odobrenje za geološka istraživanja na ovom projektu - kažu iz "Rio Tinta". - Do kraja 2017. godine, projektni tim naše kompanije izradiće brojne studije, kako bi što preciznije bila procenjena tehnička, ekološka, ekonomska i društvena održivost projekta.

[crippled_avenger]

Pogledao sam APPROACHING THE UNKNOWN Marka Elijah Rosenberga. Reč je o kamernom SFu u prvoj misiji na Mars, na kojoj se astronaut kog igra Mark Strong suočava sa raznim teškoćama. Ako zaplet zvuči kao MARTIAN Ridleya Scotta, odnosno roman po kome je film snimljen, to je zato što u osnovi jeste sličan. Doduše, Rosenbergov film je žanrovski potpuno drugačije usmeren, fokus je na studiji karaktera, otuđenosti koja rezultira psihozom, ne optimističkom borbom. Ipak, imajući u vidu površnost publike, svakako je da će APPROACHING THE UNKNOWN najčešće biti upoređivan sa MARTIANom.

Nažalost, koliko god meni više prijao ovaj "seriozniji" pristup od onog viđenog u MARTIANu, ovo je jedan od onih filmova koji imaju hardver dobrog ostvarenja ali to naprosto nisu. Scenografija je ubedljiva, glumci su odlični, međutim, zatajio je scenario koji ubrzo posle plasiranja osnovne ideje nema šta da pruži. Film vrlo brzo ulazi u stagnaciju iz koje ne uspeva da se izvuče.

Mark Strong uporedo sa jakim major programom pravi niz čudnih indie i art house radova koji vrlo često, skoro pa redovno, ne dobacuju do njegovih mogućnosti. APPROACHING THE UNKNOWN je jedan od njih, iako po produkcionim parametrima to nije morao da bude.

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[crippled_avenger]

Pogledao sam URGE Aarona Kaufmana, novo scenarističko ostvarenje Jerryja Stahla bazirano na filmskoj priči reditelja i producenata filma, i prvi utisak koji imam jeste prisećanje na sedamnaest-osamnaest godina stare scenarije Aleksandra Radivojevića koji su u to vreme bili preteča nečega ovakvog. Stahl je odličan prozni pisac i prilično dobar scenarista ali problem je svakako u tome što je URGE pao u ruke nedoraslog reditelja. Besmisleno je iz današnje vizure porediti URGE i pomenute Radivojevićeve scenarije ali u odnosu na ovo što je Stahl ovde složio, ti nesnimljeni scenariji su bolji jer su unutar slične strukture nudili mnogo maštovitiju horor invenciju.

URGE ima nekoliko radivojevićevskih strukturalnih detalja koje čak i publika može da prepozna, pre svega taj sturkturalni shift da na polovini trajanja filma umesto klimaksa ponudi diskontinuitet, što smo imali kao rešenje u SRPSKOM FILMU. Kad je reč o tematskim opsesijama, dele ih nekoliko, ali one nisu mogle biti viđene do sada što je velika šteta.

Zatim, tu je i karakteristični radivojevićevski sofisitcirani negativac visoke verbalne veštine koji argumentuje svoje postupke. Ovog puta ga igra Pierce Brosnan, što je zapravo jedan od zanimljivijih detalja u filmu.

Nezavisno od poređenja sa Radivojevićem, a ona ne laskaju URGEu, ovo je film koji zapravo nije pao na nivou scenarija već na nivou režije. Aaron Kaufman nije uspeo da savlada horor koji je trebalo stvoriti iz transformacije stvarnosti a tipičnih prizora nasilja nije bilo dovoljno da bi održao tenziju. Scenario je pružio seriju izazova na rediteljskom planu i Kaufman im po pravilu nije dorastao, i to se ponavlja iz situacije u situaciju.

Međutim, URGE je film koji potvrđuje da je dobar scenario preduslov za nastanak pristojnog filma, tako i Kaufmanovo delo na kraju, uspeva da bude ne samo gledljivo već i da uprkos brojnim nedostacima nađe svoje mesto na savremenoj žanrovskoj sceni.

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[crippled_avenger]

Pogledao sam THE CALL UP Charlesa Barkera, dobro prihvaćen ali zapravo prilično slab britanski akcioni SF koji pretenduje da se tobože dešava u Americi i govori o grupi gejmera koji su pozvani na nekakav tajni turnir u VR ambijentu, na kom se kasnije ispostavlja da ljudi kada poginu u igri zaista stradaju i u stvarnosti.

Nažalost, Barker ne ide nikuda sa tom premisom, scene se ređaju i mahom donose preokrete koje smo mogli očekivati od oavkve premise, a ona iako već prevaziđena, urađena je na retko mlak i neubedljiv način.

Sve u svemu, THE CALL UP je slab film koji nažalost neće poslužiti za nekakvu naročitu afirmaciju autorske ekipe koja je njime htela da se afirmiše.

[crippled_avenger]

Pogledao sam KLOVN FOREVER Mikkela Nordgaarda. Reč je o nastavku danske komedije KLOVN i rekao bih da je nastavak slabiji od orginala, odnosno prvog bioskopskog izdanja komedije koju na danskoj televiziji rade Christensen i Hvam. U nastavku, deo priče smešten je u Los Anđeles, i njemu, recimo kroz cameo Isle Fisher, oni pokazuju kakve su kontakte stekli u međuvremenu (Sacha Baron Cohen želi da ekranizuje njihov scenario, recimo). Moram priznati da ni prvim KLOVNom nisam bio impresioniran ali zbilja imao je nekoliko gegova i vrlo ekscentričnu rediteljsku i glumačku postavku koje sam zapamtio. KLOVN FOREVER mi deluje manje sveže, usiljenije, i sa vrlo čudnim struktualnim odlukama koje ovog puta nisy ostavile utisak inovacije. Na kraju krajeva nisam siguran koliko je odluka da se napravi toliki broj cameo uloga pomogla sirovosti ovog filma, iako mu je svakako privula fanove koje donose Isla Fisher ili pevač Maroon 5.

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[lilit]

kripe,
we'll miss you 

[crippled_avenger]

lilit, <3


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[lilit]

paul verhoeven je car, kralj, reli vozač.
preciznost izraza, stavovi, bez opštih mesta, smisao za humor, odnos prema poslu, iskrenost prema sebi, neponavljanje onog što jednom kaže, sklonost palamudu - zero, razumevanje sveta 100.
moderatori nedorasli al izvukao je i njih.

[džin tonik]

starship troopers, jos uvijek jako potcjenjeno djelo, kako roman, tako i ekranizacija...

[crippled_avenger]

Pogledao sam LE DERNIER DIAMANT Erica Barbiera, francusko-belgijsko-luksemburški heist film koji mutira u noir. Yvan Attal i Berenice Bejo u glavnim ulogama celom ovom projektu daju klasu, ali ukupno uzev reč je o prilično konfuznom i prilično mlakom euro-krimiću.

Attal je osuđivani lopov koji odlućuje da uradi posao posle kog će se povući. Sa ekipom priprema pljačku retkog i navodno "ukletog" dijamanta. Da bi se dokopali dijamanta, on mora da se zbliži sa njegovom vlasnicom. Rađa se ljubav koja ipak ne sprečava lopova da obavi pljačku. Međutim, posle toga on shvata da je izmanipulisan i ljubav će ih ponovo ujediniti u pokušaju da raščiste stvari.

Barbierov film nažalost preciše koristi koincidencije i neuverljive situacije kako bi razvijao zaplet i ima ozbiljne probleme da pogodi kojoj situaciji odgovara kakav ritam. Zato na kraju, rezultar svakako ne evocira uspomenu na glamurozne evropske filmove velike pljačke na koje želi da se nadoveže.

Domet je nažalost neki sporedni televizijski termin, mnogo pre nego ozbiljno bioskopsko gledanje. Šteta što zvezde nisu dobile snažniji materijal u kome su se mogle istaći.

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[lilit]

starship troopers, jos uvijek jako potcjenjeno djelo, kako roman, tako i ekranizacija...

pa sad, roman i film i nemaju previše sličnosti al ajde
verhoeven kaže da je on radio anti-imperijalistički i subverzivno al da je u big studiju prošao jer je ličio na komediju.
kaže i da je nedavno tražio da mu daju neku komediju da režira al niko neće. lol

btw, zamišljala sam kripa i gula s leve i desne verhoevenove strane i razmišljala kako bi to bilo moguće izvesti uz dezintegraciju večerašnjih moderatora.

[džin tonik]

pa sad, roman i film i nemaju previše sličnosti al ajde

sto ne osporava moju izjavu.

verhoeven kaže da je on radio anti-imperijalistički i subverzivno al da je u big studiju prošao jer je ličio na komediju.

u to godinama uvjeravam narod koji me zblaznuto gleda, da ne kazem pomislja kako sam previse kreativan u kritici, rekli bi cudan.

[crippled_avenger]

lilit, videću da ga ugostim na FESTu...

[lilit]

lilit, videću da ga ugostim na FESTu...

javljaj na vreme ako uspeš u nameri.

da li si imao priliku da nekako odgledaš elle? još uvek nemamo austrijskog i nemačkog distributora pa ga ovde još nema. al alexander horwath (direktor film museuma) ga je neviđeno nahvalio a obično je škrt na komplimentima.

[crippled_avenger]

nisam još ali koliko shvatam kupljen je i mogao bi čak da se nađe u bioskopima pre festivala


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[lilit]

biće opet breg i muhamed story
hvala.

[crippled_avenger]

Izgleda je Bob Z regaovao isto kao i Stari kada je pogledao NO ESCAPE...

John Erick Dowdle and Drew Dowdle, directors of "No Escape" and "As Above/So Below", will be back at the helm of action-thriller heist pic "The Gafin Academy".

Produced by Image Movers and Voltage Films, the Aaron Rapke and Stewart Kaye-written film is based on Danny King's novel 'School for Schumbags', released in 2008.

Per Deadline, who has the exclusive, "The book centers on Banners, a habitual teenage delinquent who, after being expelled from yet another school, finds himself hauled off to Gafin Academy, a reformative school that plays host to the worst of thieves, bullies, arsonists and vandals. However, rather than rehabilitating the students, the Gafin Academy utilizes their unique skill sets to pull off a massive heist."

Blockbuster king Robert Zemeckis ("Back to the Future", "Castaway") will executive producer the picture.

[crippled_avenger]

Bošnjaci pokušavaju da serviraju Starog u svojoj salati od reči...

http://media.ba/bs/magazin-novinarstvo/lazni-dokumentarac-o-drzavi-koje-vise-nema

[crippled_avenger]

Mel Gibson and writer Randall Wallace are working on a sequel to The Passion of the Christ that will tell the story of the resurrection of Jesus, Wallace tells The Hollywood Reporter.

Wallace, nominated for an Oscar for scripting Gibson's 1995 best picture winner Braveheart, on Thursday (reluctantly) confirmed rumors that he has begun to write a script for a story about the resurrection, telling THR that the project is becoming too difficult to keep under wraps.

Wallace, who most recently directed and co-wrote the 2014 faith-based drama Heaven Is for Real, says he and Gibson began to get serious about a sequel to The Passion, the most successful independent film of all time, while making Hacksaw Ridge, which Gibson directed and Wallace co-wrote. Hacksaw Ridge opens in November and is about World War II Army medic Desmond Doss, the first conscientious objector to be awarded the Congressional Medal of Honor.

Wallace was a religion major at Duke University and says the resurrection was a specialty of his. "I always wanted to tell this story," he says. "The Passion is the beginning and there's a lot more story to tell."

A rep for Gibson declined to comment on the filmmaker-actor's involvement in a Passion sequel.

The Passion, Gibson's story of the persecution and crucifixion of Jesus, was released in 2004 by the independent Newmarket Films and earned a whopping $612 million worldwide on a $30 million production budget. Since then, many in Hollywood have presumed a sequel would some day be made, but Gibson has moved on to other projects.

Rumors swirled anew last month when Gibson was a surprise guest at Liberty University's graduation ceremony to do an advance screening of Hacksaw Ridge and was asked about a Passion follow-up. He expressed interest in making a sequel but was not specific about his involvement. Wallace says demand in the Christian community influenced he and Gibson's willingness to do another film.

"The evangelical community considers The Passion the biggest movie ever out of Hollywood, and they kept telling us that they think a sequel will be even bigger," Wallace says.

No studio or financial backing has been lined up for the project, which is still in the early script stage. But Wallace indicates there are several financiers interested in investing. "It's too early to talk money," he adds. "This is such a huge and sacred subject."

In February, Sony released Risen, which tells the story of the resurrection, though Gibson wasn't involved. The movie made $46 million worldwide on a $20 million budget.


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[crippled_avenger]

CELL Toda Williamsa niie ni prva ni poslednja ekranizacija Stephena Kinga koja je ispala toliko loše da se ne može pustiti u bioskope. Međutim, čekanje na ovaj film se odužilo tako da je Sam Jackson u ovom filmu odigrao jednog od preživelih posle apokalipse izazvane mobilnim telefonina, a pre toga se u bioskopu pojavio kao negativac u KINGSMANu koji želi da izazove apokalipsu putem mobilnog telefona. Ruku na srce, KINGSMAN je snimao pre CELLa, ali CELL je mogao izaći pre, da je bio za izlaženje.

Nažalost, CELL je pokušaj da se Cusack posle 1408 iznova okrene Kingu za ideju, ali rezultat je ovog puta u ravni ne B nego C produkxije. CELL je film u kome Cusak i Jackson pokušavaju moguće ali nedostižno, da kroz karaktere unesu nekakav smisao u priču, i u tome ne uspevaju, a para nema dovoljno da se inscenira nekakav spektakl, i ako pogledamo ogroman broj producenata na špici među kojima su i Cusack i Xavier Gens, reklo bi se da ta ekipa nije dobro uradila svoj posao.

KIng i dalje radi na više koloseka. Reklo bi se da neprekidno dobija mogućnost da se ekranizuje i u projektima visokog profila. Međutim, kada iz mase njegovih ekranizacija odbijemo kratke filmove, nažalost opet većinu čine baš ovakvi nezreli B i C projekti sa nekim imenima koja su možda nešto garantovala ali više ne znače previše.

CELL je ekranizacija skorašnjeg bestselera Stephena Kinga sa uglednim imenima na špici, i ne treba da krivite sebe ako nasednete i uložite sat i po vremena u ovo.

[Agota]

CELL je ekranizacija skorašnjeg bestselera Stephena Kinga sa uglednim imenima na špici, i ne treba da krivite sebe ako nasednete i uložite sat i po vremena u ovo.

Kako da ga mrzim, ako ga ne pogledam?

[crippled_avenger]

Izbegavaj mržnju...


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[crippled_avenger]

Ruski majstor saspensa Nikolaj Lebedjev snimio je rimejk navodno najgledanijeg filma sovjetske ere - EKIPAŽ Aleksandra Mite. Mitin film je snimljen pre nekih 35 godina i u svoje vreme je bio sovjetska narodna adaptacija američkog serijala AIRPORT, sa razrađenim odnosima među junacima, čak i u većoj meri nego što je bilo potrebno. Lebedjev snima film koji se u pogledu balansa između melodrame i disaster movieja dosta stabilno pozicionira na strani disastera. Međutim, problem je u tome što su svi odnosi među likovima u filmu postavljeni ne samo šablonski i površno, već i distancirano maltene na nivou kadra, tako da film u pogledu karaktera zapravo nikada ne zaigra. Danila Kozlovski i Vladimir Maškov su dovoljno velike zvezde da naprave nekakav odnos na bazi svoje rutine i gledalaćkog iskustva, ali ukupno uzev, EKIPAŽ ne uspeva da izgradi zanimljive karaktere, pa ni populističke likove koji bi komunicirali sa publikom.

Spoj flah likova i CGI-heavy letačke akcije čini da EKIPAŽ ponajpre može da se posmatra kao uspešan televizijski proizvod. I van Rusije i bivšeg SSSRa upravo najbolje i može proći na tom formatu.

Mitin EKIPAŽ je u sebi nosio dozu ekskluzivnosti, govorio je o visokorizičnoj a opet civilnoj profesiji, prikazivao je ljude koji putuju po svetu, odlaze i na Zapad, i to je svemu davalo egzotičnu dimenziju. Rimejk EKIPAŽA dolazi u trenutku kada Rusija ponovo nije baš otvorena, ali sasvim sigurno putovanje van granica nije nikakva ekskluziva. U tom demistifikovanom dobu, posao pilota dat je kao jedan zanimljiv spoj blue collar i white collar posla, u kome zapravo nema naročitog glamura.

Stoga, iako na nekoliko letova, Lebedjev prikazuje panorame gradova van Rusije, njegovi junaci čak ni ne voze najveći avion u floti Aeroflota već jedan običan avion. Naravno, kada se desi taj let na kome se sve uroti protiv junaka, onde stvari počnu da se izdvajaju i mi shvatamo da je ovo kao TOP GUN u kome je komandant ispunio pretnju Mavericku i izbacio ga iz vojske.

Danila Kozlovski igra pilota ruskog vazduhoplovstva koji je vozeći transportni avion napravio "disciplinski prekršaj" i izbačen je iz vojske. On se zapošljava u Aeroflotu i dobro je da Lebedjev odlučuje da se fokusira na jednog junaka i da priču steše u odnosu na prethodni film. Međutim, onda se pojavljuje njegov starešina u Aeroflotu čija porodična priča postaje snažnije od Daniline, i u pojedinim trenucima preti da "zamasti" film više nego što bi trebalo, po uzoru na Mitin original, ali se to na kraju ne dešava.

EKIPAŽ je inače bio prevod Zemeckisovog FLIGHTa za rusko tržište, i uprkos tome što ovde nije ista tema, oba filma dele činjenicu da prikazuju scenu nesreće i pilotskog majstorstva. Čak im ni budžeti nisu sasvim neuporedivi jer je EKIPAŽ koštao 10 miliona dolaza. Zemeckis u tom letačkom segmentu ostaje nedosegnut, jednim delom jer Lebedjev previše računa na CGI a ipak nema dovoljno visok nivo a zatim i zbog toga što su zamisli onoga što se dešava u vazduhu prilično apsurdne (šifra AIRPORT 75). Mislim da je za Lebedjeva bilo bolje da je pokušao da odigra baš na realizam, i da prikaže neku letačku pat poziciju koja je iole ubedljiva jer ovo što prikazuje deluje kao da se neko takmiči sa najapsurdnijim zamislima loših američkih reditelja.

U poređenju sa najboljim filmovima ove vrste, mislim da EKIPAŽ dobro pokazuje kako "holivuski spektakl" nije isključivo stvar tehnike, i paradoksalno najviše problema i u pogledu karaktera i u pogledu osnove koja treba da pravda tu "tehničku" nadrgradnju. Srećom, sa Kozlovskim i Maškovim, Lebedjev barem uspeva da iskoristi holivudski recept i koliko-toliko se osloni na zvezde. Štaviše, uprkos trajanju od 138 minuta koje nije nimalo nežno, za film svakako možemo konstatovati da nije dosadan publici koju ovakav sadržaj elementarno zanima.

U nekoliko detalja, pre svega kroz dizajn stanova, Lebedjev pravi omaž Mitinom filmu.

Lebedjev najbolje radi ponovo u scenama saspensa, s tim što ovde one imaju lokaciju na zemlji. U par zahvata, Lebedjev pokazuje da je majstor, ali su te situacije manje obeležene efektima i spadaju u red scena koje se mahom rade baš na terenu i "u kameri".

Posle 22 miliona dolara na ruskim blagajnama, a to nije konačan skor, EKIPAŽ sasvim sigurno neće pretendovati na titulu najgledanijeg ruskog filma, ali definitivno će uspeti da se isplati.

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Pogledao sam EYE IN THE SKY Gavina Hooda, nepodnošljivo politički korektnu polemičku dramu o moralnim dilemama koje se pojavljuju pred ljudima koji putem bespilotnih letelica ubijaju druge ljude u dalekim predelima. Scenario Guya Hibberta je nepodnošljivo tupav i pokušava da u polemičkom maniru suoči razne stavove oličene u različtim likovima, a sve ih postavlja u situaciju da se dronom mora ubiti ozloglašeni islamista u Keniji, ali, avaj, pred kućom koju treba gađati sedi mala devojčica i prodaje neke somune.

Hibbertove namere su ili časne ali on ne dobacuje do njih jer je glup, ili su nečasne i realizovane na način da deluje kao da je on jako naivan. S jedne strane, Hibbert predstavlja svet drone warfarea kao milje u kome se brine o kolateralnoj šteti do mere da se vaga o smrti jedne devojčice, što možda i jeste tako kada su mete manje značajne od onih koje se gađaju u ovom filmu. Ako se setimo sluaja RTSa, NATO nije imao apsolutno nikakav problem da ubije 16 civila kako bi uništio antenu koja nije bila od vitalnog značaja za odbranu Jugoslavije ali se za nju mogla upotrebiti. I kada se pogleda njihov CDE za tu akciju u dokumentima Haškog tribunala, apsolutno nisu imali nikakvu dilemu oko toga da li usput treba pobiti civile, kao što nisu imali nikakve iluzije o suštinskoj beznačajnosti tog postrojenja koje su gađali. Stoga situacija u kojoj ih jedna devojčica sprečava da ubiju par ozloglašenih terorista i bombaša samoubicu koji se upravo opasuje eksplozivom apsolutno nema nikakvog smisla. Ubili bi devojčicu kao kolaterlanu štetu bez razmišljanja.

Ipak, činjenica da film tobože hoće da nam pokaće hladan i ciničan svet u kome neko uopšte diskutuje o tome da li treba da se ubije devojčica ili ne, predstavlja inicijalnu laž i glupost. Kada se ta laž uvede, onda gluposti kreću da se nagomilavaju, pa tako centrala maltene žrtvuje život svog operativca kako bi spasila devojčicu od ekslozije, i sve u svemu, film osuđuje ljude koji prave kolateralnu štetu, ali ih opet i razume, pa se na kraju sve svede na priču o tome kako NATO ubija neke ljude po svetu ali to ne znači da ubicama povremeno nije teško zbog toga.

Ono što je najperveznije od svega jeste zapravo status ovog filma koji ponajviše podseća na neke polemičke drame iz vremena komunizma gde se kao iznose argumenti za i protiv ali je vrednosni sistem jasan, a vrednosni sistem je onaj vladajući. Umesto da bude tako i percipiran, kao priča koja pokazujući malo naličja Rata protiv terorizma zapravo samo reafirmiše njegovu neophodnost jer na kraju krajeva, NATOvci jesu ubice ali se prvo jako dugo pitaju da li da usput ubiju devojčicu, ovaj film je doživljen kao inteligentno preispitivanje drone warfarea.

Andrew Niccol je napravio takođe slab ali ipak kudikamo smisleniji film o tome. A koliko vidim i Anne Hathaway će ekranizovati pozorišni komad o tome koji upravo igra. Dakle, drone warfare je sasvim zasluženo došao u fokus filmskih autora, ali tek treba da rezultira dobrim filmom.

Gavin Hood je posle dolaska u Holivud imao čudnu putanju u karijeri, između ostalog i zato što je želeo da se bavi osetljivim političkim temama. U tom smislu, Hoodov RENDITION je daleko vredniji film od ovoga. Pa opet, ako govorimo o uništenju svetova sa distance, verujem da je ENDER'S GAME još snažnije delo na ovu temu iako govori o dalekoj budućnosti.

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[crippled_avenger]

Hollywood action director, Renny Harlin ("Die Hard 2," "Cliffhanger") has launched a production company in Beijing, China where he has decided to now base himself permanently.

The company, which carries the same name as his Midnight Sun Pictures label in Los Angeles, has the aim to nurture new Chinese talent. Its remit covers development and production, with output being Chinese titles or Chinese-foreign co-productions.

The company has several stories in development and a couple of scripts at advanced stages. Development staff are now in the process of being hired. Chinese-centric horror stories and thrillers for local directors will be prioritized.

Financial backing for the company comes from Jiabo Culture Group, a Beijing-based creative consortium. Distribution of the finished productions will be decided on a case by case.

The launch of Midnight Sun in China is separate to Harlin's recent agreement to make "Legend of the Ancient Sword," a Chinese fantasy film backed by China's Alibaba Pictures Group, as his next directing assignment.

Harlin recently completed Jackie Chan-starring "Skiptrace," which releases next month in China, and says he fell in love with the place. He has been living in Beijing for the past two years.

"As an American who originally comes from Finland, I don't expect the rest of the world to be like the U.S., so I found China very easy to fit in," Harlin told Variety. "For film makers, nothing is impossible in China. Everything can be improvised."

"I think I can bring certain Hollywood ingredients, such as the three act structure or making Chinese fantasy films more acceptable to international audiences."

A number of other Western film makers including the Russo brothers and Rob Minkoff are active in China, but Harlin points out his uniqueness. "I'm the only director from Hollywood who calls China home," he said. "I've now got a dog in Beijing."


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[Ugly MF]

Gledo sam Warcraft i oću jooooooooooš....par desetina filmova takvih....

[mac]

Biće. Kina je zemlja Warcrafta, film će zaraditi za sledeća dva nastavka. Biće.

[crippled_avenger]

HARDCORE HENRY 2 live action

http://sport.blic.rs/euro-2016/totalno-lud-ruski-huligan-imao-kameru-na-sebi-tokom-tuce-sa-englezima-uznemirujuci/j6j7r34


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Pogledao sam LOVE & FRIENDSHIP Whita Stillmana, ekranizaciju rane novele Jane Austen. Moram da priznam - zbunjen sam većinski pozivitvnim, da ne kažem hvalospevnim kritikama koje je dobio ovaj film jer reč je o pretencioznoj, i na pogrešan način svedenoj ekranizaciji Jane Austen. čija je ambicija verovatno bila da na neki način ponudi drugi ugao gledanja na čuvenu spisateljicu ali rezultat je više konfuzan i nerazrađen nego šro je istinski inovativan. Stillman se opredelio da prikaže junake krajnje teatralno, uz natpise o njihovom imenu i karaktersitikama, i ti natpisi pored svoje pretencioznosti apsolutno ne nude nikakav ključ za razumevanje likova, niti pomažu praćenju priče. Vizuelni koncept je sveden na mahom statične kadove i vrlo skromno raskadrirane situacije u kojima se tekst Jane Austen izgovara na prilično letargičan način.

Kako je ovaj film dobio kritike u kojima se smatra najboljom ekranizcijom Jane Austen i nečim jako komičnim zaista teško mogu da razumem, osim ako kritika nije cenila to što Whit Stillman zaista ne prilazi materijalu kao tipični adaptatori Jane Austen. Međutim, to novo što nudi očigledno sadrži neke kvalitete i u pogledu igre i u pogledu humora koji uopšte, dakle ni u tragovima nisu doprli do mene.

Ostavljam mogućnost da nisam bio u stanju da razumem ovaj film...

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Pogledao sam NEVER BACK DOWN 3: NO SURRENDER Michael Jai Whitea. White ponovo režira i piše u saradnji sa Chris Hautyjem, piscem prva dva filma, i ponovo je jako uspešan, ne samo daleko iznad onoga što inače snima u poslednje vreme već se vrlo lako može upisati među reprezente onog uspona DTVa koji je krenuo pre nekoliko godina. U ovom filmu, Whiteov lik odlazi na Tajland posle odslužene robije i tamo pomaže prijatelju da se spremi za MMA turnir. Međutim, u toku pripreme za turnir, White mora da preuzme ulogu borca, kako valja i trebuje.

Drugi deo NEVER BACK DOWN u Whiteovoj režiji karakterisali su dobri likovi i zanimljive dramske scene. Sa prilično niskim budžetom i ograničenim brojem lokacija, White to ponavlja i u ovom filmu. Likovi su ponovo dobri i stvara se fina borilačka melodrama praćena sirovim scenama borbe za koje je ponovo zadužen Larnell Stovall.

Lep dodatak događajima je cameo koji je napravila Jeeja Yanin, štićenica Prachye Pinkaeea kojoj sam prorekao veliku budućnost posle njegovog filma CHOCLATE. Nažalost, ono što je potom radila nije bilo na nivou ali se sada uzdam u njene pojave na DTV scene da je nekakav crossover ipak moguć. Koliko shvatam posle NEVER BACK DOWN 3 čeka je i HARD TARGET 2 Roela Reinea.

Film je snimao Ross Clarkson, redovni saradnik Isaaca Florentinea, ali u saradnji sa Whiteom postiže jedan ipak siroviji, organski izgled filma. Borba kao ni u drugom delu koji je radio White, ne dominira filmom ali su scene vrlo efektne i ubedljive, sa dosta telesnosti i Whiteom koji u njima pokazuje svoj protagonizam.

Zanimljiv detalj je skor filma koji je odsvirao simfonijski orkestar makedonske radio-televizije. Posle Gruovih pesama u UNDISPUTED 2, ponovo bivša Jugoslavija učestvuje na soundtracku za borilački film. Iako UNDISPUTED ima nešto ekskluzivniji koncept jer se iz filma u film menjao protagonizam junaka, NEVER BACK DOWN je svakako apsolutno konkurentan serijal, za koji mi se čini da je bez razloga još uvek percipiran kao da je nekako ispod UNDISPUTEDa. Mislim da svaki od ova dva ima svoje adute i da NEVER BACK DOWN zaslužuje sličnu reputaciju.

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[Meho Krljic]

Jackie Chan: The Warcraft Movie's Success in China Scares Americans 

The Warcraft movie is a smash hit in China. Action star Jackie Chan has opinions about what that means.

While speaking at the Shanghai Film Festival, Chan is quoted by The Hollywood Reporter as saying the China was seen as a "nothing market" by the West for decades. That, however, has changed.
"Warcraft made 600 million RMB [$91 million] in two days—this has scared the Americans," said Chan. "If we can make a film that earns 10 billion [$1.5 billion], then people from all over the world who study film will learn Chinese, instead of us learning English."
  Chan also told the largely Chinese crowd that "it is you, not us, who makes China powerful." Continuing, he added, "So, thank you all—we hope the Chinese film industry gets even more powerful."

[Ugly MF]

Izbegavaj mržnju...


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...ja probo, pa se zajebo...osim uvodne scene,do pojave S.L.Džeksona, zanimljivo....dakle prvih nekoliko minuta....a onda peeeeenzija Steve Kralja.........

[crippled_avenger]

Filmovi o fudbalu po grupama na Euro 2016

http://www.beforeafter.rs/kultura/24-ekipe-u-24-slike/


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Pogledao sam THE REZORT Steve Barkera, film koji deluje kao da je dumpovan malo u španske bioskope a posle na DTV iako to nije zaslužio. Da li bi imao svoje mesto u bioskopima ne znam jer ipak danas potpuno drugačiji film ide u bioskop, ali definitivno je reč o zombie filmu koji zaslužuje pažnju, što se u poslednje vreme vrlo retko može reći.

THE REZORT kreće kao rip-off JURASSIC PARKa sa zombijima. Naime, zemlju je pogodila zombi epidemija. Ljudi su pobedili, ali postoji jedno egzotično ostrvo na kome ljudi mogu ići da turistički ubijaju zombije. Na tom ostrvu naravno, sve je prilagođeno hirovima bogatih turista sve dok jednog dana ne dođe do kolapsa bezbednosnog sistema.

Barker je krenuo kao perspektivni reditelj u Velikoj Britaniji i odmah se opredelio za žanrovski film. Nažalost, nije imao sreće da se izbori za high profile projekte ali je i dalje zadržao određene ambicije u svojim filmovima, pa tako i THE REZORT nudi jednu vrlo specifičnu političku dimenziju koju iskreno nisam očekivao od filma ovog profila...

Kako je reč o britansko-španskoj koprodukciji, film uspeva da izgleda mnogo bolje od onoga što budžet sugeriše. Lokacije na Kanarskim ostrvima su izvanredne, a fotografiju je radio Roman Osim, DP sa ozbiljnim projektima u svom CVu i to se vidi. Dougray Scott je najpoznatije ime u glumačkoj podeli, ali ako imamo u vidu Barkerov usud da snima film sa zombijima u kome ima dosta likova koji su tu samo da bi nastradali, rukovođenje "ljudskim faktorom" u ovoj priči je dosta solidno.

THE REZORT je jedan od onih B-filmova kakvih je u poslednje vreme sve manje, koji nisu uspeli da se nametnu na žanrovskim festivalima a nisu uspeli ni da se izbore za neku dobru poslovnu poziciju, a iznenađuju nekim zahvatima koje su preduzeli autori. Imajući u vidu kontekst, ovaj film zaslužuje jaku preporuku.

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Pogledao sam NOW YOU SEE ME 2 Jona Chua, nastavak Letterierovog prijatnog iznenađenja u kome je ponovo okupljena ista ekipa izuzev Isle Fisher (koja je zamenjena sa Lizzy Kaplan) koja je ove godine doduše sarađivala sa francuskim hitmejkerom na GRIMSBYju ali je preskočila novi NOW YOU SEE ME. Ipak, činjenica da su Mark Ruffalo, Jesse Eisenberg i Woody Harrelson i dalje tu predstavlja pravi uspeh ako imamo u vidu koliko se reputacija ovih glumaca izmenila u proteklih par godina. Ruffalo i Eisenberg su uspeli da se ustale u strip-ekranizacijama, a Harrelson je oporavio svoju karijeru u TRUE DETECTIVEu, pa ipak ostali su deo ove franšize koja potiče iz nezavisne produkcije. Summit je proteklih sezona uspeo da odgaji nekoliko YA franšiza a učinio je sve da ih izgradi u drugim formama. U konkretnom slučaju, NOW YOU SEE ME, ista ova podela je u startu pravi uspeh.

Kad je o samom filmu reč, zvuči kao prvoloptaški vic ako bi se reklo da filmu "nedostaje magija" prvog dela, ali to je upravo istina. Međutim, ako apstrahujemo taj X-faktor, nema nikakve sumnje da su se svi umešani u nastanak ovog filma svojski potrudili da bude na nivou prethodnog, pa čak i da ga prevaziđe.

Trud nije urodio plodom naprosto zato što ta dramaturgija mađioničarskog efekta koji zbuni publiku i potonjeg otkrivanja trika koji je oduševi, nije do kraja ponovljen u ovom filmu - jer bi to bilo besmisleno - ali nije ni zamenjen nečim boljim. Stoga, ono što je bilo sveže rešenje u prvom filmu, sada je istovremeno ponovljeno ali i "utišano" a ničim novim nije zamenjeno. Otud, NOW YOU SEE ME 2 naprosto nema šta da ponudi publici, nema puno suštinski novog a ni staro nije u potpunosti rekonstruisano.

Slično Marvelovim filmovima, NOW YOU SEE ME 2 počinje da prati i od viška likova koje treba pratiti, a neke nekonzistentnosti u odnosu na prvi film (recimo , zašto nema Isle Fisher) su bez ikakvog razloga elaborirane i time se samo dodatno ukazalo da se ekipa nije mogla okupiti, a to je jako loš signal za film koji govori o okupljanju ekipe. Otud, baš onaj veliki uspeh da su Ruffalo, Eisenberg i Harrelson tu, nekako biva pojeftinjen tim objašnjenjem zašto nema Isle.

Drugi krupan problem jeste činjenica da su autori filma svoju nesigurnost u materijal pokušali da reše obiljem mađoničarskih trikova koji s jedne strane deluju porpilično arbitrarno, a nije ponuđena "uverljiva" rekonstrukcija kako su izvedeni. Stoga, u pojedinim fazama junaci filma NOW YOU SEE ME 2 maltene postaju superheroji. Još jedan detalj koji me nije obradovao jeste to što film donosi dve scene tuče iako je zanimljivost ovih junaka baš u tome što uvek izbegnu tuču.

Dakle, NOW YOU SEE ME 2 definitivno ima problem mašte i ideja, ali i scenarističke moći da se rekonstruišu aduti prvog filma. Međutim, u film je uložen veliki trud i energija, tu je odlična glumačka podela i kada je tako, film sa takvim hardverom naprosto ne može pasti ispod nekog nivoa, naročito kada se sva ta imena potrude. Dinamo u ekipi je Lizzy ali definitivno niko, pa ni Morgan Freeman ne zabušava. Stoga, glumci i ekipa iza kamere, zalaganjem uspevaju da učine film prilično dinamičnim i pitkim.

Stoga, iako prvi film nije ponovljen, nema sumnje da je NOW YOU SEE ME 2 pošteno urađen nastavak kome se naprosto samo nije desilo da bude istinski zanimljiv. Međutim, u ovoj poplavi nastavaka i rimejkova, NOW YOU SEE ME 2 nema čega da se stidi.

Uprkos tome što je teško prepoznati gde su se desile ključne greške, Chu je ipak znatno nesigurniji reditelj od Letteriera, i to upravo u domenu vođenja priče, pa je NOW YOU SEE ME 2, iako njegov najbolji film do sada, ipak ogledalo i njegovih moći.

Uprkos svim greškama u ovom delu, u serijalu kreativno ima života jer se protagonisti filma dovoljno izdvajaju na savremenoj sceni opterećenoj franđizama. Ako se budu stekli uslovi za nastavak, nadam se da će duh prvog filma biti detaljnije analiziran.

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[crippled_avenger]

Pogledao sam  KRIGEN Tobiasa Lindholma. Od kako su Noer i Lindholm prestali da rade zajednom, moram priznati da mi je Noerov output bolji ali je Lindholm uspeo da se dva puta nađe u konkurenciji za oskara, pa bi se reklo da njemu ipak bolje ide. KRIGEN mi je ipak slabiji od njegovog prethodnog filma, iako je ovo rad u kome se nema šta puno zameriti. Reč je o vrlo preciznoj melodrami o danskom oficiru u Avganistanu i porodici koja se snalazi sama u Danskoj. Ponovo se sreću kada on nehotice počini ratni zločin u pokušaju da izvuče živu glavu iz jedne talibanske zasede.

Lindholmov film je sa ovakvom premisom mogao biti i mnogo lošiji jer je otvorio niz pitanja koja nisu nimalo ekskluzivna ali su rizična, međutim, na kraju osnovni problem filma ostaje to što je u drugoj polovini kada bi moralo doći do klimaksa, neobično ravan, i tu konceptualnu inovaciju Lindholm ne uspeva da efektno plasira. Iako me u osnovi raduje što u tako osetljivom delu priče nije otišao u opersku grandioznost, a mogao je, isto tako nije uspeo da isprati tu atipičnu dinamiku, i u drugoj polovini film dobija određena televizijska svojstva.

To je jedan od rizika koji nosi ova vrsta kamerne angažovane melodrame, i Lindholm ga je do sada u svom radu uspešno prevazilazio. Ipak, ovog puta se nije snašao. Ne znam da li je možda Noer pomagao da se to ne desi u filmu R, recimo.

Ukupno uzev, Lindholmov film na kraju stoji kao dobro zaokružen produkt iz domena angažovanog filma, koji će imati svoje mesto i u bioskopu i na televiziji. Šteta je što u filmskom pogledu nije bolje odgovorio na vlastiti izazov koji je postavio kao scenarista. Da je KRIGEN imao ozbiljnu filmsku nadgradnju, uspeo bi da bude delo veće vrednosti. Ovako ostaje častan ali mlak pokušaj da se angažman prenese u mejnstrim nekim arty detaljima.

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[crippled_avenger]

Pogledao sam EL PENALTI MAS LARGO DEL MUNDO Roberda Santiaga, adaptaciju kratke priče Osvalda Soriana. Ova priča bi se mogla ekranizovati u raznim zemljama u kojima se igra fudbal jer nudi jako zanimljiv koncept za film.

U slučaju Roberta Santiaga, svi potrebni elementi za uspešnu komediju su prisutni ali bi film svakako bio još bolji da je imao harizmatičnijeg glavnog glumca. Fernando Tejero, španski glumac koji dosta podseća na Ljubu Moljca, naprosto nema dovoljnu harizmu za glvnog junaka da bi postigao širu identifikaciju, iako je ideja da se glumac takvog profila stavi na ekran sama po sebi uopšte nije loša.

Tejero čini sve što može ali naprosto, nešto mu nedostaje da bi u potpunosti dočarao simpatičnog austsajdera. Delom pored Tejerove igre tome doprinosi i način na koji je lik napisan gde se on naprosto ni po čemu ne ističe, nema nekih naročitih skrivenih vrlina.

No, premisa je briljantna, glavni junak je rezevrni golman amaterskog trećeligaškog kluba koji treba da brani jedanaesterac dosuđen na kraju prekinute utakmice. I sada, samo jedanaesterac treba da se izvede, a sve nade male varoši polažu se u ovog fudbalskog diletanta. Ipak, svi u gradu će učiniti sve da ga odobrovolje pred ključnu odbranu. On međutim sa druge strane želi da iskoristi dolazak u cenar pažnje da bi se približio devojci koja mu se dopada.

Roberto Santiago nudi nepretenciozan rediteljski postupak u kome na kraju ipak uspeva da izgradi određenu atsmoferu malog grada, njegovih stanovnika i ambijenata za koji su vezane njihove sudbine, i dosta dobro rešava komične situacije. Međutim, isto tako može se reći da je u svetlu reditelja kao što je Javier Ruiz Caldera, Santiago prilično arhaičan. Ipak, posao je na kraju obavljen pristojno i film pruža u osnovi ono što treba.

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[crippled_avenger]

    Question: Is there any desire to bring Batman back to his detective roots?

Ben Affleck: The world's greatest detective aspect of Batman is more present in this story (Justice League) than it was in the last one and it would probably be expanded upon further in the Batman movie that I direct. All great Batman stories are, at their heart, detective stories, almost noir movies in a way. It feels like The Maltese Falcon.

    Question: Do you have a time frame of when you'd like to see your solo Batman movie in theaters?

Ben Affleck: I think they have a date for it, but honestly I don't know if I'd necessarily be able to make that date because I don't have a script that's ready yet. My timetable is that I'm not going to make a movie until there's a script that I think is good because I've been on the end of things when you make a movie and the script is not good yet and it doesn't pan out.

    Question: Can I ask where you are in the scripting process? Is there a draft you're happy with or a story you're happy with and it's about fleshing it out further?

Ben Affleck: I have a script. We're still working on it and I'm not happy enough with it to actually go out there and make a Batman movie. I have the highest of standards (for a Batman movie). It would have to pass a very high bar for me, not just like "Yeah, that might be fun. Let's go bang this out."

[crippled_avenger]

Ahoy, squirts! Quint here with something a little special for you guys. Warner Bros is in an interesting spot right now. They're all in on the DC movie universe, but has stumbled a bit when it comes to critical and fan reaction to Zack Snyder's Superman and Batman films.

While Justice League, the DC film universe's Avengers, is only a month into shooting they're already battling negative buzz and dimmer fan expectation. Don't get me wrong, there are die-hards out there who dug Batman V Superman, but most people would admit that the film was hardly the ideal launching off point for DC.

So that led to something pretty unprecedented in the world of major geek franchise marketing: an early set visit with practically no embargo. Not only that, but Zack Snyder reached out via his longtime publicist Bebe Lerner specifically to those movie writers who had bones to pick with Batman V Superman. I mean, Devin Faraci was invited. Think about that for a second.

My own review of Batman V Superman was mixed-negative, so I'm not sure I was on their radar. I just happened to be lucky enough to be in London for another set visit (not the one you're thinking of, sadly, but I promise it's going to be a fun read and you'll want to know more about it when I can post about it) and they let me tag along with the other Stateside press flown in for the visit.

The set visit happened last Friday and the tiny embargo was pretty much only in place to give us time to gather all the massive amount of material we got into something cohesive.

You gotta give Warners and Snyder credit for this. It takes some mighty big balls to invite a big group of bloggers, the vast majority of whom didn't care for your last movie, give them huge access into your even bigger movie and then let them write about it almost immediately.

It's clear the filmmakers didn't do this out of the kindness of their hearts. They have to know the buzz on their movie isn't spectacular and they're wanting to change the conversation a little bit. Batman V Superman was very dark and people are worried that Justice League is going to be just as dour. Obviously Snyder and company don't believe that and wanted to prove it to their biggest critics.

Did they succeed? In many ways, yes. We watched a scene shot involving Batman, Commissioner Gordon, Wonder Woman, The Flash and Cyborg on the roof of Gotham PD (bat signal all lit up and everything) where Batman showed a sliver of humor, Wonder Woman got to have an emotional beat with Cyborg and Ezra Miller's Flash brought a light, funny touch to what could have been a simple exposition dump.

We also saw a scene cut together, once again focused on Miller's Flash and it was full of humor.

In short, almost everything put in front of us screamed "See, we're not as dark and brooding as the last one!"

There was also a feeling from those we talked to that they really paid attention to the fan and critic reaction to Batman V Superman. Snyder himself admitted to being kind of knocked for a loop by the reaction, but that it did make him "put the screws" to the tone on this one and make sure it was as right as possible.

Deborah Snyder, Zack's wife and producing partner, had probably the most insightful quote of the trip. When asked about lessons they learned on Batman V Superman she took a long moment and said that the most important thing they learned from the reaction of the last film was that fans don't want to see their superheroes deconstructed.

Out of everything I saw and heard on the trip, that little moment felt the most real and the least like spin, an honest admission that maybe the critics might have a point and a quasi-promise that there's some sort of course correction going on.

I personally don't feel they need to do anything major other than injecting some sense of fun into the whole thing and make Superman actually happy to help people again. I'm an easier mark for them in that regard.

Now that we've talked a little bit about the Why of this trip, how about we dig into the What a little bit.

THE STORY:

Considering that the movie isn't slated for release for another 16 months and they were letting us write about it pretty much right away, they were justifiably tight-lipped when it came to the story, but judging from the ton of production art we saw and the interviews we did with the actors and heads of departments I think I can pass along the bare bones version.

Bruce Wayne is a little like a born again Superman acolyte now. Superman's death impacted Batman in a profound way. He feels guilty for picking a fight with him and not believing in his goodwill and a sense of duty to protect the Earth from something that is coming. That something is Steppenwolf, one of Darkseid's Elite, and he's got an army of winged creatures called Parademons with him. Steppenwolf will be played by an actor, but Deb Snyder said she couldn't tell us who was playing him because they haven't completely closed his contract.

They're after the Mother Boxes, I think, which are glowy cubes of power gifted by the Gods back in the ancient times to the three races of Earth: Atlanteans, Amazonians and Humans.

The production art I saw showed all three in various locations. One piece of art showed Aquaman hovering over the Atlantean Mother Box like Indiana Jones judging the weight of the Fertility Idol in Raiders, another showed the Amazonian Mother Box in a circular temple chamber surrounded by warrior statues holding spears and swords and the humans' mother box was being tested in a containment case in Star Labs.

I think there's going to be some kind of flashback moment that explains these Mother Boxes as I saw production art for Ancient Kings and Old Gods (including Zeus and Artemis) with the label "History Lesson" on it. One of these guys looked a whole lot like Kristofer Hivju (aka Tormund on Game of Thrones).

I know Superman does come back, but I don't know how or when, but I'd guess it's later in the movie since there was only one big piece of art that showed him with the rest of the team and it was at the very end of the art room. In case you were wondering, his hair was as short as it ever was in the art piece I saw, so I wouldn't get your hopes up for Fabio Superman.

There will be a big action set piece that takes place in the tunnels below Stryker's Island (where most of the Doomsday fight happened in BvS, the island between Gotham and Metropolis) and it will involve one of Batman's new vehicles, something called the Nightcrawler, which is a bit like a tank with four legs.

Wayne also has built The Flying Fox, which is essentially a troop carrier aircraft that can transport all the Justice League as well as the Batmobile itself. Think of it like a three decked Quinjet and you're close to picturing it. Oh, and I think I saw some art of Alfred manning the guns like he was a WW2 gunner on this thing as well.

The Batmobile has some new weaponry including what looked like a 50 calibre canon on the top. I saw art of both the Nightcrawler and the Batmobile laying waste to winged Parademons, who were drawn to look a bit like Mothmen. Humanoid, but not human, maybe 6-7 feet in height.

Since these things are creatures instead of supervillains, I think that's how we're going to get Batman and his lovely toys to mow some of them down and not make him appear as bloodthirsty as he did in BvS.

One piece of art I saw had a flame jet spraying liquid fire on one of those poor Parademon bastards in mid-air.

Also saw another piece of art that showed two Parademons trying to pick up the Batmobile on the battlefield, explosions happening all around. Wonder Woman was leaping off the back of the Batmobile, sword raised in one hand, shield out front in the other.

I know that the Parademon are kidnapping scientists, including Star Labs' Silas Stone (played by Miles Dyson himself, Mr. Joe Morton) and I know the Super Friends aren't too happy about that. In fact, the context clues from the visit lead me to believe that Cyborg joins up specifically because Stone is taken.

Aquaman, I think, is a late comer as well, but I think we get a pretty good look at Atlantis in the flick. I saw some art that had Aquaman standing in front of the skeleton of an old King, still sitting on his thrown with a golden trident in his boney hand and golden crown drooped on his white-haired skull head.

Mera and Vulko were also represented, played by Amber Heard and Willem Dafoe, respectively. Dafoe's art in particular was great. He looked very regal, long hair floating over his shoulders, armor well used and battleworn and sweet looking.

As far as the Amazonians, pretty sure Robin Wright's Antiope makes an appearance in Justice League as well, although it's possible they could have included a piece of warrior outfit production art from Wonder Woman and not told us. Other characters on the art wall included Hippolyta, Euribya, Serague and Otera.

While Snyder admitted he loves Easter Eggs, he also said Justice League is a complete movie. In fact, we got conflicting reports on the whole Justice League two-parter thing. When asked about it, Snyder said there's a release date for Part 2, but earlier in the day Deb Snyder actually said there will not be a Part 2 at all. Here are her exact words:

    Deborah Snyder: We were only ever planning and we are only doing just Justice League. One movie.

When pressed with "So, not two parts?" She said an emphatic "No."

One more aside before moving on, but Deborah Snyder also mentioned that Junkie XL will be back to score Justice League, but that Hans Zimmer will likely not be joining him this time out.

COSTUMES:

Before seeing any footage shot we got a tour through the costuming department, led by the very personable costume designer Michael Wilkinson. There's so much detail in all the costumes we saw I could easily spend 4,000 words on this section, but since I need to have this posted in time for the embargo lift, I'm going to give you guys the quick version.

The Flash – He had my favorite costume of all that we saw. The reds were a little on the Iron Man side, but still popped and he had a big, almost vulgarly yellow lightning bolt emblem on his chest. Everything was designed using aerodynamic reference, including the helmet, which looked exactly like what you'd expect The Flash's helmet to look like from the front, but when viewed in profile it had a little bit of a bicyclist helmet shape to it.

The costume was built with 148 pieces in an almost patchwork quality. Wilkinson said the concept behind it was that Barry Allen has been testing pieces that sometimes work and sometimes don't work, patching it as it needs it. The result is a multilayered costume. It's absolutely not just red spandex.

One of the coolest design elements here was this weird metal wiring that criss-crossed the armor elements, sometimes going under them, sometimes over. Apparently as The Flash runs he creates energy, so these conducive wires will channel this electrical energy. I assume he'll be able to redirect it and that's where his throw-lightning ability might come into play. Visually they're going to use CG to animate that electricity glowing through the wires as he runs.

Cyborg – His costume will be almost completely computer animated. On set actor Ray Fisher was in the familiar gray Mo-Cap suit, but had practical red eye light and a red chest light.

We got to see some art of of the character in regular mode with one arm turned into a gun and Full Battle Mode, which had a full almost bucket head face plate armor and four arms. Pretty much looked straight out of the comic book.

Batman – Seeing the cowl up close and in person was actually pretty sweet. Affleck's a tall man, so his suit up on display was actually pretty intimidating up close. The scowl designed into the rubber cowl is legitimately creepy.

Bats is gonna get a suit upgrade in this one. They're calling it his Tactile Suit, and it's what he comes up with when he realizes his regular duds aren't going to cut it. It's a more heavily armored, sleeker version of his regular batsuit. The biggest change is there's almost what looks to be angled welding goggles over the eyes. We only saw art as this costume was still in process of being built, but it looked sleek. Funny side note: there was a whole lot of Arkham video game reference photos up for both Batman suits. The Tactile version specifically had both Batman and the Arkham Knight's looks as reference.

Oh, and apparently Affleck wears a size 13 bat boot. The more you know...

SETS:

THE NIGHTCRAWLER - Patrick Tatopoulos led us through some of the sets, started at what was really just the temporary home of the pilot's seat for the Nightcrawler. This is a three-seater domed pod with three distinct angled windows. Very much in a matte black style that would fit in with the Nolan Batfilms, but it had the distinct look of an insect head. Kinda fly head shaped, with the pilot's seat right in the middle (with joystick looking controls and a big, fancy instrument panel) and two jump seats, one on either side.

The Nightcrawler was not something Bruce made or had built. It was a repurposed military vehicle. The four legs had tank-like treads on them and could be used to crawl like a bug or punch through walls and scale up.

Steven Spielberg is soon going to be moving into Leavesden with Ready Player One. We passed their casting office during our tour and while walking to the big set we passed by the Ready Player One Paint Dept and the signage had those words, but written in the Jurassic Park lettering. Pretty nerdy off-track observation, but I thought I'd share.

On my other set visit, the one I still can't tell you about yet, I wandered through a different end of Leavesden and saw some actual physical sets being built for Ready Player One. Let's just say the stacks are looking just as I imagined them.

VENTILATION TOWER – STRYKER ISLAND - The next set we saw was an old brick and iron tower that acted as a ventilation tower for the abandoned underground line that was begun, but never finished and was supposed to connect Gotham to Metropolis. This tower, somewhere on Stryker Island, was already abandoned and further damaged during the Doomsday fight, but another big fight is going to happen here. The set was incredibly detailed, from rust covering all the metal to the perfectly broken windows barely occupying their old frames. It looked great, but I must admit I got a teeny tiny Batman '66 vibe from it. Like a more realistic version of one of those sets, obviously, but it was very theatrical. I mean, it had a big hole in the brick wall that almost looked like the Kool Aid Man busted through.

WAYNE HANGAR - Our next stop was the Wayne Hangar, an old submarine base that Bruce Wayne secretly bought and uses to build up a lot of his toys. It's where the Flying Fox is stored and apparently rests shoreside somewhere in Gotham.

A big hulking greenscreen version of the Flying Fox hung over the center of the set (there to cast the right shadow) and the Batmobile was parked along a side wall.

They brought in a photographer and let us take pictures with the car. It's the one set photo they're letting us share, so forgive the Braggy McBraggypants nature of the below picture.





Gotta say, the Batmobile makes pretty much anybody standing next to it look cooler. If you follow a lot of bloggers on social media you'll see pretty much that exact same shot with a ton of different nerds standing next to it, but that one's mine!

Here's a shot of the Batmobile without my handsome self in it in case you don't want too much dork in your Batmobile picture.





On one of Bruce Wayne's computer stations they had some of the emailed Justice League teaser material from BvS and all the visiting bloggers got an up-close look at Barry Allen's ID which firmly planted Century City in Ohio, which was the original state it was tied to, although it has moved to Missouri in recent years. I guess this one's going back to the beginning canon.

GOTHAM PD ROOFTOP – This was the set they were filming on and it was by far my favorite set I saw. The Gotham PD roof had the Batsignal set up next to a loose sheet of plastic flapping in the wind. Smoking chimneys in the deep background, midground and foreground really sold it as a living, breathing place even though it was surrounded by 360 greenscreen.

There was a dome built up that towered over the set with giant shrouded skeletons holding up shields. Gothic stuff that reminded me a little of Burton's Batman and just looked insanely cool.

FILMING:

We happened to be there on JK Simmons' first day as Commissioner Gordon. I know everybody's seen his super buffed out workout photos. Don't worry, in person he didn't look like Schwarzenegger. His Gordon was decked out in a black fedora, black trenchcoat, glasses and trademark mustache. I'm told he also has hair again, but I couldn't confirm the existence of a toupee since he was wearing his fedora.

The scene is the Commish waiting under that flapping plastic tarp, Bat signal on. Batman, Flash and Wonder Woman show up with some news and Cyborg shows up unexpectedly with some bad news.

This was the group's first exposure to how Ezra Miller is playing The Flash and the best way I can describe him is he's to Justice League as Spider-Man was to Civil War. Miller is playing him full of excited energy with just a hint of playful dickishness. The funny thing is that's the way he was acting with the cast behind the scenes, too. Here's an example:

We were set up at the monitors and our first visitor was Ray Fisher, who plays Cyborg. He was in his Mo-Cap getup and did that sports guy thing where he ran down the length of the two rows of visiting blogger people and got high fives from us all.

Ray was asked how he came to the project and was just starting his nice story about being noticed while doing a play about Muhammad Ali's life when Ezra snuck up behind him (full suit, minus the helmet) with a big, goofy grin on his face. The group started snickering and he turned around, nearly jumping out of his seat when he saw Ezra.

"What're you doing, man? Giving them origin stories!?!"

When the first take was about to go up, Zack's voice boomed over the soundsystem. "EZRA! I'm going to have you turn the light off! We don't need to have the bat signal on the whole scene."

Ezra's response: "That's so cool! Thank you, Zack. In your FACE, Ray!" Later on, Ray took over the sound system and we heard "Check, check. Ezra, you won't be needed for the rest of the day. Ray's going to take the rest of your lines..."

Shot goes up. Batman, Wonder Woman and Flash walk up to Gordon.

"How many of you are there?" he asks.

"Not enough," says Batman, who then tells Flash to turn off the Bat signal.

Lightning effects flash during this whole scene, the set glistening with a fresh wetdown before each take.

Gordon hands Batman something and says "Dozens of witnesses all over Gotham. Description matches the suspects in the Metropolis abductions."

Batman says "The bad guys' flying monkeys," obviously referring to the Parademons.

Wonder Woman speaks up. "The demons must have the scent of a Mother Box. They carry them away to find out what they know."

Gordon: "The Eight may still be alive."

Cyborg walks out of the shadows: "Nine." (Flash grabs at his chest like Cyborg's sudden appearance scared the shit out of him). "The head of Star Labs was taken tonight." Simmons did a great bit here when Cyborg walks up, kind of a "what is this now?" raise of the arms at the sight of what will be a walking robot.

Gordon: "Okay, so another scientist. Where do we find them?"

Wonder Woman says there must be a nest nearby and Gordon says "I've plotted all the sightings in Gotham and Metropolis. There's no discernible pattern. The lines don't converge."

Batman: "On land." He then describes the old Stryker Tunnel that was supposed to connect Gotham to Metropolis (remember that?).

Flash motions to Cyborg and says, "Now that he's here I don't think we'll all fit in the car."

Batman: "I've got something bigger."

Gordon turns around and looks out over the city, starts to ask another question and turns around to find everybody gone except for The Flash, who looks around and starts apologizing. "Did they just do that? Rude."

That was the scene. As you can see, it was designed to have a lot of playful interaction with the characters, so it's no surprise this is what they wanted us to see.

Simmons played his Commissioner Gordon a little more lightly than Gary Oldman did, but he wasn't joking around. Except on rehearsal. Then he let a few jokes fly. The one I remember most was on the "Witnesses in Gotham" line when he said "Dozens of witnesses in Gotham and... uh... that other city, where Superman lives."

He also chided Ezra, who as the last to get to his mark with a "faster, faster!" which is funny considering who Ezra's playing.

We saw two set ups, maybe 8-10 takes in total. The first set up had A and B cameras (35mm) in a wide, one a master shot and the other a profile on a crane that rose above the Bat Signal. The second set up was the close up on Gal Gadot's reaction to Cyborg's appearance. It was a total glamour shot of her. She looks surprised to see him at first and then flashes a dazzling smile, like she didn't expect him to be there, but is happy he showed up.

Gal looked great in her costume. Everybody did, in fact. I can't tell you how surreal it was to be sitting on the set and see Batman take his cowl off less than 15 feet away.

The group that went was so big and the area near the stage was so small that they broke us up into two groups to spend some time close to the action and not just sitting at the monitors on the other side of the greenscreen. I was in group 2, which meant that I got the shit end of the stick because group 1 ended up talking with Ben Affleck for, like, 15 minutes. They waved us all over about 6 minutes in.

I got the full transcript from Stax over at IGN, which I'll be posting in full as its own article, so when you're done here, hit that back button and go seek out the chat. It's pretty great. Affleck was pretty brutally honest about his willingness to walk away from his standalone Batman movie if the script isn't right and also talks pretty in-depth about his understanding and admiration of the character. It's a good insight to Batman's brain at this very specific moment in time. Go read it!

Our day was almost up. Only thing left to do was head back to the art room and wait for Zack Snyder to come by. When we got up there, the publicists had set up a bar. I'm not kidding. A no shit, full on bar. I didn't partake, but I was tempted.

Snyder ended up joining us about 15 minutes later. He came into the art room (which they dubbed The Fortress, get it?) sipping at a mojito and ready to show us a little something-something on two large TVs and answer some questions.

FOOTAGE - BRUCE WAYNE RECRUITS BARRY ALLEN:

The little something something was one of the first scenes he cut together in which Ezra Miller enters his weird studio apartment (with his suit on a mannequin and a bunch of high tech monitors and computer equipment cluttering up the place) to find Bruce Wayne sitting in corner, waiting for him.

"Barry Allen. Bruce Wayne."

"You said that like it explains why there's a total stranger in my place, sitting in the dark, in my second favorite chair."

"Tell me about this." Bruce hands over the security cap from BvS of Ezra in the grocery store.

"This is a person who looks exactly like me, but who is definitely not... me. Somebody... hippie, long hair... A very attractive Jewish boy who drinks milk. I don't drink milk."

Bruce wanders over to the Flash outfit. "I know you have abilities. I just don't know what they are."

"My special skills involve viola, web design, fluent in sign language... gorilla sign language..."

Bruce ignores him, admiring the suit. "Silicone-based sand quartz fabric. Abrasion resistant, heat resistant..."

"Yeah, I do competitive ice dancing."

"It's what they use on the space shuttle to prevent it from burning up upon reentry."

"I do very competitive ice dancing. Look, man, I don't know who you are, but whoever you're looking for, it's not me."

Bruce quickly throws a Batarang right at Barry's head. He slows down in super slow motion as Allen reacts, looking in stunned awe at the iconic bat symbol while Bruce is still in slo-mo throwing motion. Light strobes as Allen calmly reaches out and pinches the slow moving, sharp Batarang out of the air and Bruce transitions back into normal motion.

"You're The Batman?"

"So, you're fast."

"That feels like an oversimplification..."

"I'm building a team, people with special abilities. You see, I believe enemies are coming..."

With a huge grin on his face, Barry says, "Stop right there. I'm in."

Shocked, Wayne says "Just like that?"

"Yeah. I need... friends." Holds up Batarang. "Can I keep this?"

The scene went on a little long (it was a first assembly afterall) and should probably lose the "I need friends" bit at the end and go right into "Can I keep this?" but the point is the scene worked. Ezra was light and funny, undercutting broody Bruce's seriousness a bit and we were left with something a little more similar in tone, character interaction-wise, to what we're used to with the Marvel movies.

I can't tell you how the whole thing is going to shake down. It could feel forced or lagging behind the successful Marvel formula, but I can say that the effort seems to be being made to actually have some fun this time.

Of course, take that with a grain of salt and consider that everything on this visit was very carefully planned and remember my opening thoughts about how this was a clear attempt at changing the conversation. I've seen a tiny fraction of what Snyder and company are planning with this film, so I can't vouch for the whole product, but I will say that it's clear this isn't going to be Batman V Superman. Whether that was always the case and they just wanted people to understand or they made a bunch of last minute U-turns, I can't say. All I can do is pass along what I saw and let you guys judge for yourselves.

Snyder stuck around for a bit to answer questions. I'll post that full interview as its own story as well, but that just about brings us to the end of the line here.

However the film turns out, I can say I appreciate Zack, Deborah and the rest of the crew deciding to be more transparent instead of withdrawn and secretive in the face of criticism. They fielded some tough questions on this visit, tougher than I usually experience at these sorts of things anyway.

I hope this turns into a more standard experience for these big group visits. Quick turn around time, invites open to more than just those who play nice all the time and hope to get rewarded. If you guys like being able to read these kinds of reports this early on in the process (they were on day 31 of 111) sound off in the talkback below and let your voices be heard.

It's no secret I enjoy it more this way and I suspect you guys do, too.

Thanks for following along. Make sure to go check out the on-set interviews with Ben Affleck and Zack Snyder!

-Eric Vespe
"Quint"

[crippled_avenger]

"Star Wars: The Force Awakens" star John Boyega has joined the cast of Kathryn Bigelow and Mark Boal's movie centering on the 1967 Detroit Riots, their untitled follow-up to "Zero Dark Thirty."


Megan Ellison's Annapurna Pictures is financing with Bigelow and Boal producing along with Ellison and Matthew Budman. Colin Wilson and Greg Shapiro will executive produce.

Details about the Detroit project remain scarce other though it's known to be a crime drama set against the backdrop of Detroit's devastating riots that took place over five haunting summer days in 1967. Although no studio is yet attached, producers are targeting a release in 2017, the 50th anniversary of the riots.


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[milan]

Don't get me wrong, there are die-hards out there who dug Batman V Superman,

Ja sam medju njima i jedva cekam ovo BVS Ultimate Edition od tri i kusur sata....

[Meho Krljic]

Da, ima da se nagledamo. Iz dosadašnjih informacija deluje kao da tu ima dosta solidnog mesa oko kostura koji je ostao u theatre cutu.

[crippled_avenger]

Mehmete, RTS stvara Nušić-verse!

http://www.rts.rs/page/magazine/ci/story/401/film-i-tv/2360067/novi-sitkom-rts-a-po-nusicevim-komedijama.html


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[Meho Krljic]

Da, video sam juče najavu za to na Dnevniku  Fino je što igra mladi Rakočević, to je nekako indikator da se sa ovim mislki ozbiljno, plus, uvek je bogougodno videti da Milan dobija da radi raznolike i zanimljive poslove. Pratićemo!!!!!!

[crippled_avenger]

"Gotham's" Ivy Pepper is sprouting into iconic DC Comics villain Poison Ivy in Season 3, and Maggie Geha has been tapped to take on the deadly role. Geha replaces Claire Foley, who has portrayed Ivy in her younger iteration since the show began.


According to Fox's character breakdown, Ivy's unlikely transformation is due to a brush with one of Hugo Strange's creatures, last seen escaping into the Gotham night at the end of Season 2. Following an encounter with a monster from Indian Hill, Ivy Pepper finds herself reborn, and one step closer to the DC villain she is destined to become: Poison Ivy. Now a 19-year-old woman who's harnessed the full power of her charms, she sets her sights on Bruce Wayne (David Mazouz).

Geha has previously appeared opposite Mark Wahlberg in "Ted 2," and alongside Hugh Grant in "The Rewrite." She also had a supporting role in the independent film "In Stereo" and will next be seen in the psychological thriller "The Harrow." Geha is represented by INSURGE-Ent, Sanders Armstrong Caserta Management and attorney Neil Meyer.

Season 3 of "Gotham" is also set to introduce The Mad Hatter and Gotham Gazette reporter Valerie Vale, the aunt of DC Comics mainstay Vicki Vale.

"Gotham" Season 3 premieres Monday, Sept. 19 at 8 p.m. on Fox. Check out the network's full fall premiere schedule here.


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