The Crippled Corner

[lilit]

pa sad, meni i Betman v Superman nije bio loš a ovde ću da imam Fredija plus Margo Robi, koju bih mogla da gledam i u filmu Š kategorije. a ako premaše ta moja basic očekivanja, ja happy.

[crippled_avenger]

Tako su bile loše i za Ayerov SABOTAGE...


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[crippled_avenger]

REVIEW: Damn right! That's what I kept saying to myself over-and-over as I watched BLOOD FATHER on the big-screen at a Fantasia press screening in advance of its North American premiere as part of the festival. Mel Gibson's first straight-up star vehicle since the (massively) underrated GET THE GRINGO, BLOOD FATHER is the type of hard-edged action thriller that could give the controversial star the comeback he deserves – were it getting a full-scale release. Instead, BLOOD FATHER is only getting a limited theatrical run (along with a VOD release) which is a shame, as with the breathtaking desert vistas this was clearly composed for the big-screen and is the most defiantly cinematic movie of the summer.
blood father mel gibson
Director Jean-Francois Richet has really done something interesting here, in that he's brought his European perspective to a distinctly American-style actioner, which plays out like a modern western with motorcycles replacing horses, and bikers/thugs instead of cowboys. Having aced the two-part MESRINE crime saga (starring Vincent Cassel), Richet is a sophisticated director and he elevates what could have been a small-scale actioner to near epic level. It helps that he's working from a high-grade script by Peter Craig (the author of the novel this is based on) and STRAIGHT OUTTA COMPTON's Andrea Berloff, that also gets in a few well-timed political pokes, such as a great opening sequence where Moriarty's sixteen-year-old is allowed to by endless rounds of ammo but not cigarettes.
blood father mel gibson erin moriarty
As for the man himself, Gibson is at his absolute best. Wearing a gritty beard, and sporting a kind of "don't f**k with me" attitude that's probably not far from the real Mel, this is his best performance in years. That said, for all his personal drama, Gibson has never let anyone down as far as movies go, although I'd say he has more to chew-on here than he did in EDGE OF DARKNESS or even GET THE GRINGO. If that later film was a call-back to PAYBACK, this is more along the lines of LETHAL WEAPON's Riggs, with his Link having the same wild-look in his eyes and dangerous sense of unpredictability. One moment he can be tender with Moriarty (who's very good as the troubled daughter) and in the next can be ripping ears off his opponents with his teeth, while simultaneously telling his daughter that despite all the murder, he's having the time of his life – which we believe.
blood father mel gibson
Richet's also surrounded Gibson with a solid supporting cast. Diego Luna adds menace as the charming but sociopathic gangster after Moriarty, with him accompanied by a dead-eyed Sicario sent from the cartels to do his bidding. Meanwhile, William H. Macy steals scenes as Gibson's AA sponsor/best friend/neighbor. The best of all them is Michael Parks, who aces a bit as Gibson's former mentor, now turned neo-Nazi psychopath who's holed-up in a desert bunker and proves to be a shadow of the figure Gibson remembers.
What's really amazing about BLOOD FATHER is how Richet's able to squeeze in tons of character beats and not skimp on the action at all, despite a scant eighty-eight minute running time. Highly economical and very disciplined with a hard-R rating, this is the antithesis of the usual Hollywood action fare and more like the kind of thing we'd have seen in the late eighties/nineties. It's a small miracle as far as these things go, and it's telling of the current marke place that the best action movie of the year is going straight to VOD. Don't miss it – there may not anything out quite like it for awhile.


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[Meho Krljic]

'Suicide Squad's' Secret Drama: Rushed Production, Competing Cuts, High Anxiety 

"Better late than never." That was one Warner Bros. executive's reaction to the excitement at Suicide Squad's splashy Aug. 1 premiere in New York. Tracking indicates the film could open to more than $140 million domestically and potentially hand the studio its first unequivocal megahit since American Sniper's $547.4 million in December 2014. With March's Batman v. Superman: Dawn of Justice grossing $873 million worldwide but failing to impress audiences or reach the hoped-for $1 billion mark, Warners still urgently needs to jump-start its critical DC Comics universe, raising the stakes for Suicide Squad, which cost at least $175 million to make.
Yet if the villain team-up ultimately works — and it has drawn some harsh early reviews  — it will be in spite of the kind of behind-the-scenes drama that is becoming typical for giant franchise movies that now are the main focus of the studio business: a production schedule engineered to meet an ambitious release date; a director, David Ayer (Fury), untested in making tentpole movies; and studio executives, brimming with anxiety, who are ready to intercede forcefully as they attempt to protect a branded asset. Often, efforts to fix perceived problems ratchet up costs, which drive anxiety ever higher. In extreme cases, such as Fox's troubled Fantastic Four, the intervention is so aggressive that it becomes unclear what it means to be the director. (In each such case, studios are careful to stress that the credited director is on-scene and in charge, which is essential to avoid DGA issues. And the wise director plays along.)
So despite grueling moments, multiple editors and competing cuts, the production of Suicide Squad barely stands out in today's landscape. In a joint statement to The Hollywood Reporter, Ayer and Warner Bros. production president Greg Silverman say: "This was an amazing experience. We did a lot of experimentation and collaboration along the way. But we are both very proud of the result. This is a David Ayer film, and Warners is proud to present it."


Warners chief Kevin Tsujihara announced the project in October 2014 as part of a slate of 10 DC films stretching into 2020. Though the studio believed there was enough time to get the movie done, a source with ties to the project says it was a sprint from the start. "[Ayer] wrote the script in like, six weeks, and they just went," he says, arguing that the whole process would have benefited if Ayer, 48, had been given more time to work. But another source closely involved with the film says once it was dated, pushing back the release was not an option: "It's not just that you've told the public the movie is coming, you've made huge deals around the world with huge branding partners, with merchandise partners. It's a really big deal to move a tentpole date."
In Ayer, Warner Bros. enlisted a director who had never made a giant, effects-packed action movie. Hiring filmmakers who lack such experience is the trend, and it's often out of necessity. "There are a lot of people who don't want to direct those movies and that's a huge problem," says one producer with franchise experience. "A lot of the proven guys are back-to-back with their stuff, or they want to develop it for five years, and there's a machine that has to be fed. And there's the economics." Seasoned directors are expensive, meaning studios turn to those with less experience, relying on instinct that they will be up to the job. Sometimes it works (Colin Trevorrow on Jurassic World), and sometimes it doesn't (James Bobin on Alice Through the Looking Glass).
A source with knowledge of events says Warners executives, nervous from the start, grew more anxious after they were blindsided and deeply rattled by the tepid response to BvS. "Kevin was really pissed about damage to the brand," says one executive close to the studio. A key concern for Warners executives was that Suicide Squad didn't deliver on the fun, edgy tone promised in the strong teaser trailer for the film. So while Ayer pursued his original vision, Warners set about working on a different cut, with an assist from Trailer Park, the company that had made the teaser.


By the time the film was done, multiple editors had been brought into the process, though only John Gilroy is credited. (A source says he left by the end of the process and that the final editor was Michael Tronick.) "When you have big tentpoles and time pressure, you pull in resources from every which way you can," says this source. "You can't do it the way it used to be, with one editor and one assistant editor."
In May, Ayer's more somber version and a lighter, studio-favored version were tested with audiences in Northern California. "If there are multiple opinions that aren't in sync, you go down multiple tracks — two tracks at least," says an insider. "That was the case here for a period of time, always trying to get to a place where you have consensus." Those associated with the film insist Ayer agreed to and participated in the process. Once feedback on the two versions was analyzed, it became clear it was possible to get to "a very common-ground place." (The studio-favored version with more characters introduced early in the film and jazzed-up graphics won.) Getting to that place of consensus, however, required millions of dollars' worth of additional photography.
Other sources describe a fraught process — one cites "a lot of panic and ego instead of calmly addressing the tonal issue." Clearly all wasn't sitting right with Ayer, who in June suddenly dropped his longtime agent at CAA and defected to WME, though the agency won him back in a day. "He was under a lot — a lot — of pressure," says one person with knowledge of the situation, arguing that Ayer was exhausted and needed time to process conflicting ideas.


And there may have been other strains. Just weeks before the two versions were tested, Warner Bros. declined to ante up for Ayer's next project, Bright, which will reunite him with Suicide Squad star Will Smith. He ended up at Netflix, which made a staggering $90 million deal. Nonetheless, a day or two after Ayer fired and rehired CAA, another cut of the film was screened for a test audience, and sources say the results were strong enough that there was an upbeat plane ride back to Los Angeles.
Now the question is whether the film will deliver for an industry thirsty for something, anything, that will work in a summer bereft of live-action hits. Though reviews suggest the competing visions for the movie may have taken a toll (THR's critic calls the film "puzzlingly confused"), BTIG analyst Rich Greenfield says, "I've learned long ago there is not always a connection between reviews and box office and financial success." At the same time, it is imperative for Warners to build DC movies fans love like they do the Marvel pics.
Even on the day of the premiere, one insider fretted about whether Suicide Squad would mirror BvS' huge opening and weak legs. Another veteran says the goal is survival: "The movie's got to do $750 million, $800 million to break even. If they get anywhere close to that, they'll consider it a win."

[crippled_avenger]

Ovo sad već daje za pravo onim teoretičarima zavere koji misle da se Marvelovi filmovi favorizuju u odnosu na DCjeve. Sve opisano u ovom članku je potpuno rutinski proces nastanka bilo kog filma, samo na steroidima jer je film skup i moguće je angažovati više ekipa montažera i sl. Dodatna snimanja su stvar koja je uračunata u budžet holivudskog blokbastera jer njihovi autori sebi to naprosto mogu da dozvole. Glumci imaju ugovore koji predviđaju dodatna snimanja, i imaju zakazane termine za to, pre početka inicijalnog snimanja.

Ja zaista ne mogu da verujem da anti-reklamna mašina uspeva da se zagreje tako brzo pred premijeru. Nezavisno od toga da li je film dobar ili ne, odmah se isplasirala priča o problematičnoj produkciji, kao da je nemoguće da neko snimi film koji je naprosto sranje.

Zatim, neverovatna mi je ta premisa da filmovi inače nastaju u apsolutnoj harmoniji i slaganju svih saradnika oko svega iako je nastanak filma serija kompromisa na svakom nivou, u svakoj fazi.

I to važi i za najautorskije i najumetničkije filmove. Zamislite kako bi izgledao tekst o nastanku PORNO BANDE ili SRPSKOG FILMA koji su imali rane cutove od 150 minuta kojima su reditelji bili zadovoljni, i seriji raznih savetovanja i intervencija koji su na kraju te filmove sveli na minutaže kakve danas znamo i kakve je trebalo da imaju. Naprosto, postoje faze zasićenja u kojima autoru treba vremena da reši neka pitanja u montaži, oko tona filma itd. Kako Warner mora da radi efikasno, oni imaju način kako da reditelju pomognu da sagleda svoj film iz više uglova. I to je sve. I na PORNO BANDU je bio doveden drugi montažer kad je montaža ušla u krizu. To su sve normalne stvari u nastanku filma. Danas niko ne sumnja da je PORNO BANDA Mladenova vizija iako je nekoliko meseci nešto drugo delovalo kao njegova vizija.

Još drastičnija priča prosuta je za FANTASTIC FOUR prošle godine. I to je praktično bio career-killer za Josha Tranka, čoveka koji je - ne zaboravimo - snimio CHRONICLE i svakako nije zaslužio da bude tek tako obrisan...


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[Meho Krljic]

Da, ovo deluje kao tekst pripremljen planski i realizovan u momentu kad može da nanese najviše štete. Opet, ne moramo mu pripisivati saboterske ambicije, dovoljno je znati da ljudi vole da čitaju o tuđoj nesreći...

[crippled_avenger]

Po meni je ovo samo stvar mogućnosti, tipa, producent ili drugi saradnik ili prijatelj dođe reditelju i kaže, da li si razmišljao da film bude malo duhovitiji. Srpski producent ili drugi saradnik ili prijatelj ostavi reditelja da o tome misli. Američki dovede montažera i pokaže mu šta je mislio.

[crippled_avenger]

U sklopu pripreme za SUICIDE SQUAD pogledao sam EDGE OF WINTER Roba Connolyja u kome Rick Flag igra oca novom Spider-Manu. Nažalost, Joel Kinnaman je u ovom indie filmu video prostor da napravi malo odmorište od svojih mejnstrim angažmana, međutim nije dobio kvalutetan materijal. Kinnaman i Tom Holland su bili raspoloženi za glumačku igru ali je priča o američkom ocu načete psihe koji kreće da se ponaša psihotično kada sazna da mu bivša žena seli sinove za London data istovremeno monotono i zbrzano. Ključni momenti duševnog sloma glavnog junaka dati su prebrzo i klišetizirano a duge scene u kojima se grade atmosfera i odnosi naprosto nisu pružile mnogo toga interesantnog. Ako tome dodamo dosta konfuznu eskalaciju očeve psihoze, rezultat je film u kome je samo autor imao koristi jer su Kinnaman i Holland pomogli da ovaj promašaj uopšte privuče pažnju.

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[lilit]

dobro, obojica idete večeras, kad će stroga al pravedna sagita dobiti vaše izveštaje?

[crippled_avenger]

Ja idem večeras odmah iz montaže JESENI SAMURAJA. Gde uništavamo Danilovu viziju.

[crippled_avenger]

U sklopu pripreme za BLOOD FATHERa pogledao sam N'IMPORTE QUI, film koji je pre dve godine producirao Jean-Francois Richet. Reč je o zanimljivom francuskom odgovoru na JACKASS u kome glavnu ulogu igra globalna YouTube senzacija Remi Gaillard. Međutim, za razliku od JACKASSa, film Raphaela Frydmana u mnogo većoj meri zahteva od Remija Gaillarda da glumi. U ovom filmu, on igra samog sebe a priča prati period u kome on piokušava da se smiri i skući, i prestane sa pravljenjem pizdarija. Kako bi to postiga osećuje psihijatre i zombifikuje se elkovima za smirenje, međutim, đavo mu ne da mira.

N'IMPORTE QUI je svakako film u kome su glavni adut Gaillarodvi stuntovi koji su povremeno zaista urnebesni, međutim Frydman zaslužuje pohvale za to što je ovom "vezivnom" materijalu dao identitet i što je iz Gaillarda uspeo da izvuče jednu prilično dobru komičarsku interpretaciju. Štaviše, Frydman je sebi dozvolio da se u par navrata spikejonzeovski "zaigra" upravo u tom vezivnom delu i to je mahom imalo dobre rezultate osim jednog kratkotrajnog iskakanja u neodbranjiv apsurd.

Raphael Frydman je još od svog debija ADIEU BABYLONE svojevrsni enfant terrible francuskog filma, poznat po tome kako nije ušao na njihovu akademiju FEMIS. Značajan deo svoje karijere potom posvetio je muzičkom filmu, bilo da je reč o dokumentarcima ili koncertnim filmovima. U svakom slučaju, Richet je za svoju produkciju o Remiju Gaillardu izabrao reditelja koji može da donese rediteljski pečat i Frydman ga je bez ikakve dileme i pružio.

N'IMPORTE QUI je film koji je bukvalno zbog par detalja koji su pokazali da Frydman ne kontroliše stvari ostao kratak za status izvanrednog filma. Međutim, ovakav kakav je, izuzetno je dobar i moram priznati da me čudi kako nije uspeo da na francuskim blagajnama ponovi Gaillardov uspeh sa YT i konvertuje ga u prodaju ulaznica.

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[Meho Krljic]

Mislio sam da je uobičajenije da režiser i montažer unište viziju scenariste. Ovo sve naopako 

Pa, ja film gledam negde od sedam večeras, pa ću napisati reč-dve o njemu u nekom momentu kasnije.

[Meho Krljic]

Pre nego što Cripple dođe sa stručnijom analizom, da kažem da je Suicide Squad film na kome se vema dobro vide tragovi teškog developmenta kroz koji je prolazio sa sve lutanjem između žanrova, nedopečenim zapletom i dosta očiglednim naporima da se napravi hip R-rated film u post-Deadpool eri. To ne znači da je ovo film u kome nema ništa dobro, on ima neke solidne a neke i virtuozne detalje, a vidim da je i ocena na IMDB-u koja je trenutno na sedam i po signal da narod u detaljima ume da uživa, no, kao celina, ovo je film sa ozbiljnom krizom identiteta i pomićenjem vizije.

Paralela koju sam čuo da povlače sa Guardians of the Galaxy - gde je GotG, kao, primer kako se radi film u kome gomila disfunkcionalnih likova postane porodica a SS je isto to samo R rated i neuspelo - je meni korisna utolio što sam ja i GotG iz više gledanja smatrao neuspelim filmom, a Suicide Squad ponavlja mnoge njegove greške, neke i namerno. Velika razlika je naravno u tome da je GotG PG trinestica i njegovi protagonisti su loveable rogues dok u ovoj Rčini treba da imamo posla sa sociopatima, ali šta god da je Ayer napisao u originalnom scenariju, u finalnom produktu film primetno osciluje između želje da nas drži na ivici sedišta time što ispred sebe gledamo "bad guys" upregnute da rade za opšte dobro silom podmukle ucene i želje da nas zabavi farsom. Ja sam veliki ljubitelj frivolnog humora, onelinera, larger than life likova koji se zajebavaju dok svet oko njih gori, mislim da je to veoma primereno superherojskom žanru, ali Suicide Squad je razapet negde između dawnofjusticeovske ozbiljnosti i jakog nastojanja da bude zabavan, hip film, pa u toj raspetosti često gubi korak.

Ne pomaže mu struktura koja je napregnuta do prskanja potrebom da se uvede gomila relatabilnih likova - makar bili i sociopati - da svaki dobije back story pre nego što se smisli centralni zaplet, kreira negativac i uvede uverljiv konflikt koji će se onda rešiti ekstravagantnim nasiljem tokom kojeg se protagonisti menjaju, zbližavaju, pronalaze inspiraciju jedni u drugima i na kraju, uprkos svojim prirodama čine pravu stvar i spasavaju dan. Ovo je materijal koji je Marvel razvlačio kroz čitavu deceniju a kada je probao da uradi sve u jednom filmu - GotG - nastao je njihov najplići produkt. Ayer je negde uspešniji a negde ne. Smithov Deadshot je dobar i ubedljiv sa jasnom motivacijom , pa makar bio i stripovski tanak. Slično važi za duo Harley Quinn-Joker koji  dobijaju dosta ključnih scena koje objašnjavaju njihov odnos i psihologiju i mada se izvedba Margot Robbie može pohvaliti, koliko i Letov Djoker, stoji i da su oni veoma stereotipni i očekivani Džoker i Harli, sa manirizmima koji samo štrikliraju kućice na spisku. Naravno, to može da bude dovoljno u filmu u kome Slipknot, Cpt. Boomerang, Croc, Enchantress i Katana dobijaju značajno tanje, instant karakterizacije i manjak motivacije i u kome Viola Davis u ulozi Amande Waller deluje maltene kao gigant glume naprosto zato što ima za nijansu veći emotivni raspon od bes-oneliner spektra koji su dobili ostali.

Al dobro, ta struktura filma jeste problem, glavni konflikt je mutan, glavni negativac nedefinisan, nejasan, nemotivisan i gore nego u marvelovim filmovima a misija na kojoj Task Force X otkriva sebe i pronalazi svoje mesto u svetu je puki mekgafin da se snimi par akcionih scena i jedna priča u kafani. I sada, razmišljao sam dosta tokom filma gde su dijalozi delovali šizofreno, verovatno umontirani iz potpuno različitih tejkova različitih verzija scenarija, gde je humor delovao usiljeno, a problemi i razrešenja nelogično, kako je ovo film koji je trebalo da bude na pola puta između Dirty Dozen i Reservoir Dogs i da je Ayer možda to i mogao da snimi da su ga pustili. Ali nije. Mnogo toga mu neodstaje a najviše ubedljivost transformacije likovca, njihovo zbližavanje i pronalaženje novog identiteta u kolektivu. Ayer ovde prolazi kroz uvežbane poteze u nemogućnosti da nam proda organsku priču i od svačijeg praga tolerancije za mehaniučko pripovedanje zavisi koliko će mu to smetati ili ga zabaviti. Ponovo, Guardians of the Galaxy je uradio skoro isto to pa je još uvek jedan od najvoljenihih Marvelovih filmova.

Gde još film pada? Akcione scene su previše oslonjene na shaky cam, mada bih se ogrešio da ne kažem da tu ima nekoliko izuzetnih kadrova. No, kako su braća Ruso sa svoja dva Marvelova filma do sada uspostavila standard koji ja smatram minimalno nužnim, voleo bih da je Suicide Squad više razmišljao o koreografiji. Dalje, film je prepun muzičkih lajtmotiva koji treba da dodaju na hip atmosferi a što je meni brzo počelo da deluje maniristički nakon što je postalo očigledno da atmosfera koju muzika kreira ne korespondira sa akcijama na ekranu. Postoje i drugi slični prekršaji u konzistenciji naracije sa pačvorkom dijaloga koji krenu na jednu stranu pa se završe drugde i motivacijama likova koje se menjaju onako kako scenario moli da se desi a ne onako kako diktiraju događaji ispred kamere (najvidnije u finalu). Negde pri kraju filma jedan od negatiivaca drži uobičajeni monolog u kome kaže kako (simbolički) pada noć i kreće promena, a ra se scenam ironično, dešava pred samo jutro.

Film, takođe, u nastojanju da pronađe ljudskost i u najgrđim otpacima društva ima i jedan istinski tragičan lik koji, nakon što u filanu učini nešto od presudnog značaja, biva potpuno zaboravljen i o njemu se više i ne diskutuje iako on bukvalno verbalizuje poentu filma i predstavlja taj napor iskupljenja oko koga treba da se izgradi emotivni krešendo naracije. To je verovatno još jedan promašaj vezan za pokretnu metu koju je Ayer morao da gađa dok su producenti menjali mišljenje o tome šta Suicide Squad stvarno na kraju treba da bude. Možda je to i ostatak originalnog mračnog i ciničnog šimunga koji je zaštitni znak stripa u kome su sociopati zaista socipati i zbližava ih jedino ubijanje, nikakve plemenite ideje. Razumljivo je, naravno, da je film išao na blaži, pozitivniji ton, ali je pritom i značajno otupio oštricu onog što bi trebalo da bude identitet Suicide Squad. Od originala Johna Ostrandera (koji dobija lep omaž u jednoj sceni), pa do recentnih radova Adama Glassa i Seana Ryana, Suicide Squad je bio tim koji funkcioniše uprkos svojim članovima, koji rezultate postiže usred haosa koji proizvode ljudi koji mrze jedni drugr koliko i ostatak sveta, čija je strast nasilje a smisao delanja ubijanje, koje Amanda Waller koristi ne kao hirurški instrument - kako ovaj film pokušava - već kao bacač plamena, za dezinfekciju i zastrašivanje. Film od ovoga beži stavljajući tim u konflikt sa (bukvalno) bezličnim, potrošnim protivnicima i mada se ima utisak da Ayer snažno pokušava da kanališe Camerona i Aliense, osećaj je, bože me prosti, češće kao da gledamo nekakvu TV seriju...

Nadam se da će Warner objaviti i director's cut ovog filma jer se Ayerova vizija nazire,alisuviše teško joj je da ispliva kroz naplavine pop-kulturnih referenci i sumnjivo tajmovanog verbalnog humora. Idemo dalje.

[lilit]

znači propast.
hvala na izveštaju.

[crippled_avenger]

Mehmete, SUICIDE SQUAD je kao Republika Srpska pre dvadesetak godina - nestašan, mali i prkosan, sa psihijatrom na čelu i suočen sa nerazumevanjem Amerike.


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[crippled_avenger]

Mehmete, SUICIDE SQUAD je kao Republika Srpska pre dvadesetak godina - nestašan, mali i prkosan, sa psihijatrom na čelu i suočen sa nerazumevanjem Amerike.


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[дејан]

и ГОТГ и СС су пг13 ако се не варам (а не варам се)

[crippled_avenger]

Fenomen recepcije filma SUICIDE SQUAD pre svega obeležava to što je u danima premijere filma pored salve negativnih kritika, izašao i niz tekstova koji su demistifikovali proces nastanka filma, sugerišući da je pretrpeo teška dosnimavanja, premontiravanja i sl. samim tim izvrćući percepciju fanova koji će sada provesti silno vreme u pokušaju da dokuče šta je kad snimano dodato i zalepljeno. Šteta, pošto mnoge stvari u ovom filmu možemo prepoznati i u prethodnom Ayerovom filmu SABOTAGE, samo je tada izgleda Ayer snimao film u potpunoj harmoniji sa producentima, glumcima i distributerima, pa o intervencijama nisu izlazili nikakvi traktati.

Elem, SUICIDE SQUAD je film za koji bi se moglo reći da je u nekim elementima prekraćen za moj ukus (pre svega subplot sa Griggsom i Jokerom, recimo) ili da je snimljen u tempu koji nije trpeo određene montažne intervencije. Isto tako, mislim da slično filmu SABOTAGE, Ayer pokazuje određenu proizvoljnost prilikom upotrebe flešbeka, ali mene u ovom slučaju sam sadržaj tih flešbekova nije izneverio. Ovde otvaramo strukturalno pitanje - dakle, Ayer koristi flešbekove kao prisećanje, ali i kao fantaziju, isto tako, Ayer u ovom filmu koristi flešbekove kako bismo se prisetili događaja koje nikako nismo mogli videti ali i na one koje jesmo, samo nismo dobili sve informacije. Teško mi je da zamislim studio koji nameće autoru ovakvo rešenje koje samo znači da film zahteva strpljivog gledaoca, dakle sve ono što projektovana publika ovakvih filmova nije.

Konačno, jedna od glavnih argumentacija da je film poremećen u montaži jeste pitanje kako se to Deadshot i Harley vide u filmu pre montažne sekvence koja najavljuje Suicide Squad, na vrlo sličan način kako to rade stripovi, i na IDENTIČAN način kako to radi animacija ASSAULT ON ARKHAM. To međutim teško da ima veze sa studijem već sa idejom da se uspostavi protagonizam Deadshota i Harley mimo akcije koju je osmislila Amanda Waller, kao što uostalom nudi i samo finale filma.

Da li je to dobro rešenje opet možemo diskutovati, ali mislim da je dosta čitljivo i da Deadshot i Harley nose sa sobom najveću "produbljenost" kao likovi, najjače motive i transformacije u toku priče, i uostalom igraju ih i glumci na koje se najviše računa.

Ono što je međutim po meni ključni problem koji se nekako izbegava u priči o SUICIDE SQUADu jeste horizont očekivanja. Naime, post-DEADPOOL svet superherojskog filma je izmenjen, ali ne bih rekao da SUICIDE SQUAD zapravo ima tako snažnu reakciju na DEADPOOLa per se. Naime, u DEADPOOLu je negativac sa kojim se Deadpool obračunava organski vezan za samu junakovu priču. U SUICIDE SQUADu mislim da je najzanimljivlje to koliko je Enchantress zapravo "tuđa bitka", koliko ona ne zanima ni sam Odred, niti je deo njihove misije. Film je neprekidno optuživan da ima slabog negativca, ali zapravo film ima sjajne negativce. Svi u njemu su negativci a Enchantress je bukvalno McGuffin. Ona se i narativno i stilski dešava mimo aktivnosti i interesovanja Odreda i njeno zlo junaci percipiraju kao nešto tangencijalno.

U tom pogledu, rekao bih da DC ovde radi ono čemu je inače sklon a to su politička poentiranja, i SUICIDE SQUAD se na tom nivou odlično uklapa u Ayerov rediteljski kanon. Naime, Ayerovi filmovi svi govore o ljudima koji su mračni, često i poročni i grešni, kojima je društvo delegiralo brigu o pojavama kojima "običan svet" ne želi da se bavi. U tom smislu, SUICIDE SQUAD se savršeno uklapa u kanon. Zatim, tu je tema grupe kolega, profesionalaca, koji često iskoračuju na mračnu stranu. Imamo i to u filmovima SABOTAGE i FURY. Konačno, imamo čoveka koji je psihopata ali bi mogao poslužiti odbrani zemlje u Ayerovoj debitantskoj rediteljskoj drami HARSH TIMES. Sve to možemo prepoznati u ovom filmu. Enchantress je tu poslužila kao substitut za Jihada, prvog Suicide Squad negativca. Ona ovde nije predstavnik islamizma po svojoj genezi ali po svemu ostalom jeste. Šta Enchantress radi - ona radikalizuje obične ljude ne bi li se osetila što više niko ne veruje (u nju). Ni sam JIhad ne bi bolje ovaplotio traumu vezanu za War on Terror, naročito ako imamo na umu zaplet kako je Enchantress inicijalno korišćena kako bi služila Americi (u jednoj akciji čak protiv Irana, sic!)

Ako na taj način gledamo film, onda je Enchantress u stvari Jihad koji se ne tiče ološa kome država omogućava da se ispolji radeći za nju kao private contractor. Otud, pripadnici Odreda nemaju ništa protiv Enchantress per se osim što ne dele njene vrednosti i ne kapiraju njen arhaični osećaj apokalipse koji im je stran. Suicide Squad je pre svega strana ljudske slabosti, i ne može da se ukači na bilo čiji religiozni zanos.

Stoga, Enchantress nije ključni negativac u ovom filmu. Ona je simptom a negativac je Amanda Waller koja ne samo da ih drži ucenom na okupu već je praktično i izazvala ceo problem sa Enchantress, igrajući se sa njenim opasnim moćima. Ne treba da čudi da se Squad najvećim delom bori sa svojim demonima odnosno sa Amandom Waller, kao i da se uticaj Enchantress na njih odvija upravo kroz halucinantne vizije Raja koje postoje u njima, što je ništa drugo do Jihad.

Horizont očekivanja u pogledu zabave, spektakla i sl. izneveren je u filmu jer je ovo Guys on a Mission flick koji ima dva segmenta. Okupljanje tima i egzekuciju akcije u jednoj noći. To ne liči na superherojske filmove, pa ni samog Deadpoola koji jeste dugo muzao onaj obračun na autoputu, ali i on je na kraju razvukao priču i vremenski i lokacijski.

SUICIDE SQUAD međutim nudi jednu krajnju svedenost. Borba se dešava noću, u jednom gradu, u jednoj ulici, jednom soliteru i još jednoj zgradi i to je sve. Nema ni egzotičnih lokacija, nema čak ni obdanice. Tu su junaci, tu su njihovi demoni, tu su bezlični protivnici oko kojih se oni homogenizuju.

Dakle, SUICIDE SQUAD nije mnogo šaren film. Vrlo je tvrd, urbani akcijaš, bez mnogo letenja, bez mnogo šarenog spektakla. Verujem da kada se kaže superherojski film, ljudi ne zamišljaju ESCAPE FROM NEW YORK, ali Ayer ga tako zamišlja i hvala mu na tome, jer to je tip akcije koji nam nedostaje.

Ayerov superherojski svet odlazi još korak dalje u pogledu heightened realizma od Snydera. Ayer prikazuje naličje, talog, geto, buvaru, i to tako i izgleda. Samo je prvi Jokerov čauš, stripovski lik, već sledeći je gangbanger kakav bi se mogao pojaviti u filmu Braće Hughes ili Johna Singletona. To je taj Ayerov touch koji u ovom filmu funkcioniše, gangbangeri su gangbangeri, vojnici su vojnici, sve deluje lived in, a opet je naravno, za stepen više od realizma.

Roman Vasyanov je napravio odličan izgled filma. SUICIDE SQUAD je konzistentan sa Snyderovim filmovima, ali je ipak mnogo vlažniji, realističniji u teksturama ali mu posao olakšava i to što tretira manje fantastičnih bića i sprava nego Snyder.

S jedne strane, mislim da je šteta što je kritika ovako klevetnički dočekala SKWAD. Nezavisno od toga kakav je utisak ostavio film, mislim da je mnogo kritika neosnovano, bazirano na pogrešnim premisama, rekao bih čak i netačno shvaćenim elementima. S druge strane, kako ne volim da se reditelji od kojih mnogo očekujem predugo zarobljavaju u superherojskim franšizama, mislim da je mudro da Ayer ode iz DCEU i nastavi da ganja svoje projeke.

I tematski i strukturalno, Ayer je snimio svoj autorski film. Tematske opsesije i formalne idiosinkrazije su konzistentne sa njegovim drugim radovima. Već to samo po sebi je trijumf. Imaginarij SUICIDE SQUADa je meni izuzetno prijao. Razumem one kojima nije. I žalim ih.

* * * / * * * *

[Meho Krljic]

и ГОТГ и СС су пг13 ако се не варам (а не варам се)

Da, čim sam postovao, otišao sam da to proverim ali forum se onda inatio i nije mi dao da editujem, otuda i toliko grešaka u kucanju koje su ostale u tekstu    Zahvaljujem na ispravci.

[Meho Krljic]

Inače, Suicide Squad pati od dramaturških bolesti koje su postale praktično zaštitni znak Warner/ DC produkcije još od Nolanovih Betmena (iako Nolan ovde nije producirao stvari) i koje nisu nužno dealbreaker ali meni bodu oči jer nekako želim da superherojski film prevaziđe nešto što su za mene dečije bolesti.

Prvo je da Suicide Squad ima sličan problem sa negativcem kao i X-Men Apocalypse: natprirodno moćnog negativca koji sam promiče svoju agendu ali mora da regrutuje i armiju henčmena ne zato što su mu potrebni već da bi protagonisti filma imali šta da rade do finalnog obračuna. U Suicide Squad gledamo negativca kako svojeručno ruši helikoptere s neba, seče arhitekturu pokretima udova kao da je od mokrog testa, uništava automobile dodirom, i nije jasno šta će mu još i vojska nekakvih dronova. Čak ni za odvlačenje pažnje, jer, kako se i vidi na kraju upravo je ON taj koji odvlači pažnju dok sestra mu obavlja posao.

Dalje, Suicide Squad u grad doleće helikopterom sa misijom da se popnu na vrh te i te zgrade i spasu VIP-a odatle. Zašto ih helikopter ne odvede do vrha zgrade nego leti u drugi deo grada gde ga sruše pa naši momci i devojke moraju da pešače do zgrade i zatim uz stepenište šipče do vrha? Zašto ih helikopter nije odneo do vrha zgrade - jer vidimo da to posle može - s obzirom da spuštanje u grad nije ispalo ništa bezbednije?

Možda ključno: zašto negativci targetuju Rika Flega i njegovu šeficu? Da li misle da moraju da uklone Suicide Squad da bi njihov plan za pokoravanje svega bio uspešan? Ako da - mada nije jasno zašto da - zašto kada zarobe osobu koja može da uništi ceo Suicide Squad pritiskom prsta to ne učine?

Opet, nisu ovo suviše bitne stvari u filmu koji ima jaku psihologiju likova i njihove intenzivne interakcije, ali Suicide Squad je i u tome stao na pola puta kako sam noćas argumentovao 

[crippled_avenger]

Mehmete, targetuju Amandu da bi uzeli srce kako bi Enchantress došla sebi. A Flaga targetuju zbog intimne veze sa June i Enchantress.


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[Meho Krljic]

To je sve jasno, ali ne odgovara na pitanje zašto ne uklone Suicide Squad kad imaju priliku, zašto ne uklone Amandu kad imaju priliku i šta će im tačno Rick Flag.

[crippled_avenger]

Amanda im treba da bi iz nje crpli infomacije kako da unište svet. Imaš onaj kadar kada joj izvlači info. Flaga targetuje ali ga ne ubije jer ga Skwad odbrani. Ne ubije ih jer ih zove da se pridruže. E sad, zašto se drevna veštica ne doseti da SMS porukom ubije mutirani spoj krokodila i čoveka kada ovaj odbije da sa njom vlada svetom je nešto što mislim da možemo podneti u comic book filmu.


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[crippled_avenger]

Ima ona priča kad je Kusta hteo da snima svoj prvi kratki film koji govori o momku i devojci koji se voze svaki dan tramvajem i onda jednog dana se između njih razvije simpatija i tramvaj tada umesto da skrene šinama, nastavi pravo.

I snimatelj Šibe Krvavca pita Kustu, "Kako tramvaj ide pravo kad šine idu lijevo?" a Kusta mu odgovori, "Pa jel film il nije film?"

I tada Šiba shvati da će biti nešto od Emira.

Tako i sa SKWADom. Tebi se "film" očigledno nije "desio" ali ako ti je za utehu, ne bi ti bio nimalo bolji da su sleteli pravo na soliter i da je Enchantress aktivirala telefon Amande Waller. Raskid sa filmom ti se desio pre toga...


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[Meho Krljic]

To je istina. Moje glavne zamerke se svakako tiču karakterizacije i dijaloga, ovo su samo usputne primedbe.

[crippled_avenger]

SUICIDE SQUAD je upravo downloadovao GUARDIANS OF THE GALAXY DVD i nabio ga na...

"The supervillain tentpole, playing at 4,255 locations, will wind up in the top 20 domestic launches of all time. "Suicide Squad" will demolish the "Guardians of the Galaxy" two-year-old record for an August opening by more than $45 million "


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[milan]

Pa vi niste normalni - prekinite vise sa spojlerima, stvarno!!!!!!

[crippled_avenger]

Pogledaj film pa neće biti spoiler...


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[Meho Krljic]

Ja sam se trudio da ne spojlujem, al Cripple ne haje. Istini za volju, nije da je priča bitna u filmu.

[crippled_avenger]

Na drugo gledanje, dosta stvari "legne".


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[milan]

Pogledaj film pa neće biti spoiler...


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Hocu, naravno, samo da zavrsim snimanje... Inace, Batman V Superman ultimate edition stize za koji dan. Vidim da je tebi vec stigao. Kakvi su utisci?

[crippled_avenger]

Ultimate Edition sam pogledao kad je leakovao. Ta verzija filma po meni bolje "diše" od ove koja je izašla u bioskope. Ima celih deonica koje su ispale. Mnoge primedbe koje sam imao na bioskopsku verziju, tu ne važe.

Ja sam u montaži tako da nisam još stigao da se prepustim BRa. Za sad mu se samo divim iz daljine tokom kratkih boravaka u kući.


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[crippled_avenger]

Later this year, Penelope Spheeris will turn 70 years old. "You get to a certain age and you go, 'OK, what is my identity?'" the director says, speaking from her Hollywood home, where she's hiding in a closet to get some peace from her dogs. "My identity is The Decline of Western Civilization. It's not Wayne's World or any of those other movies I did." A new box set collection of her iconic Decline films—which chronicle L.A.'s punk scene in three distinct eras—puts a point on this fact while highlighting some of the best rock'n'roll filmmaking ever captured.

Spheeris was well suited to document such chaos: Her father ran a carnival where he also played the strong man, until he was killed in a knife fight when Spheeris was seven. Her mother married seven different men, some abusive drunks, so Spheeris turned to loud music to block out the noise of them shouting. On her wages from IHOP and Denny's, she put herself through film school at UCLA. There, she met Lorne Michaels, which led to her producing Albert Brooks' 1979 directorial debut, Real Life. She also established what may be the first music video production company, Rock 'n Reel, and made promos throughout the '70s and '80s.

Her second film was 1981's The Decline of Western Civilization Part I, which showcased the likes of the Germs, Black Flag, and Circle Jerks­ with technically brilliant footage of shows and mosh pits; critic Pauline Kael compared it to watching Kennedy's assassination. "Steve Conant, the guy I got to shoot the main camera, was a shooter for the L.A. Lakers basketball team," Spheeris explains. "My logic was that if he could follow the ball, he could follow the kids in the pit. Meanwhile, I would be up on a platform so I wouldn't get hurt, like a pussy." After hundreds of punks descended on Hollywood Boulevard for the film's premiere, the LAPD dispatched 300 motorcycle cops, and then-police chief Daryl Gates wrote a letter demanding it never be shown in the city again.

The documentary earned Spheeris the opportunity to direct This is Spinal Tap, which she turned down because she didn't want to mock her beloved heavy metal. She chose to make Decline II: The Metal Years instead, though the grotesque egos of Sunset Strip stalwarts like Kiss, Aerosmith, and Poison—coupled with pressure from producers—turned it into an unintentional comedy of excess. Although the movie has been officially unavailable for years, certain scenes have become legendary in their own right: A frazzled post-rehab Ozzy preparing the world's least appetizing fried breakfast; Wasp's Chris Holmes floating in a pool chair and dowsing himself in vodka while his disapproving mom looks on. Reveling in their imperial period, the protagonists of the 1988 film are cruelly unaware that Nirvana's debut single is just months away, heralding the scene's death knell at the hands of grunge

Key to Decline I and II were the punk and metal fans: drawling deadbeats in the first; horny, poodle-haired egomaniacs in the second. Spheeris' eye for teen hubris led Lorne Michaels to ask her to direct 1992's Wayne's World, which remains her most successful film to date, but it came with its own repercussions. After the first two Decline films, studios didn't think she could make comedy; after Wayne's World, they wouldn't give her serious material. A rift with Mike Myers meant she didn't get offered Wayne's World 2, and she ended up in a low-rent commercial cul-de-sac, directing the likes of The Beverly Hillbillies and Little Rascals. "If I could go back, I would probably not have done Wayne's World," Spheeris admits.

After a revelation at Burning Man—essentially, fuck studios—Spheeris returned to the Decline series in 1996, hoping to make a movie about punk, now commercialized, 20 years on. "But it turned out to be about the social disaster L.A. is in, with people treating children so bad," she says. The focus became the city's gutter punks: Abused runaways living on the street in makeshift families, panhandling and making the odd dollar by "spanging"—posing for photos with tourists. At the end of the film, a screen flashes up saying that all profits from the movie would go to organizations supporting these kids. Tragically, Decline III never received any kind of release. There was little demand to see such a depressing movie, and the few distribution offers that Spheeris got required her to hand over the rights to the first two movies, which she refused to do.

Now, all three are compiled for the first time in a handsome DVD release. Included among the extensive extras is a commentary of Decline I by Dave Grohl, who credits that film's soundtrack with making him want to be in bands. Viewed together, the trilogy's title seems even more appropriate, as the arc mirrors mankind's journey from the dark ages, to classical Rome, and back to barbarianism. The project would never have come together without Spheeris' daughter, Anna Fox, who "forced" her mom to re-release these films and is also on our call from her L.A. home.

Pitchfork: When you set out to make Decline I, did you see any precedent for it in terms of films about punk?

Penelope Spheeris: No. At that time, punk was so fresh in L.A. They may have been making films in England or New York, but there was really nothing here. I didn't have a research bank I could tap into, but I had a film company, and I always had equipment checked out on the record company's account. So I would go do my job and shoot the Staples Singers or Fleetwood Mac or the Doobie Brothers, and then I would go to a punk club at night and use the same equipment there. I tried to shoot as many shows as I could.

Pitchfork: Did you anticipate L.A. punk becoming culturally significant, or was it more about the excitement of the here and now?

PS: It was both. I did know that I'd never seen anything like that in rock'n'roll before, and I felt that it was important to capture the moment. I'm still rather astounded that [Decline] got so much interest.

Pitchfork: Were you a regular presence in the scene back then?

PS: I had been going to the shows. But the exact moment it occurred to me that I needed to make a movie was when a businessman out in the Valley asked if I would direct a porno movie, and I said, "Hell no, but I'll do a punk rock movie." I took the guy to a Germs show and he was like, "This is pretty freaky—maybe we should do it."

Pitchfork: Decline I seems like a pretty ethically solid scene, but by Decline II, the music became self-interested and motivated by fame and money. What do you attribute that to?

PS: I like to think about society as being a flock of birds: There seems to be a common consciousness in different time periods, and the new common consciousness reacts to the old standards. Punk rock was tearing down traditional rock'n'roll and totally pissing on disco, then heavy metal came in and squashed the punk rock, and then grunge came in and squashed the heavy metal. It's an organic way of making our musical society evolve.

Pitchfork: You turned down the opportunity to direct Spinal Tap because you didn't want to take the piss out of heavy metal, but then a lot of the bands that are documented in Decline II are utterly grotesque. Was mocking them unavoidable?

PS: I wanted to use more serious bands—that's why I thought to have Megadeth in the end. But the producers saw the humor in the scenes much better that I did, so that's why the film turned out to be as funny as it was. It's to their credit, or blame, whichever way you look it at.

Pitchfork: During Decline II, the male musicians never shut up about their dicks, and the objectification and chauvinism is unrelenting. How did you feel as a woman in that environment?

PS: My mother was a barmaid and I was raised in a trailer park. I'm used to that language. I put it on the screen so that people could interpret it as they wish. As a filmmaker, I try to stay objective. I was just preserving it for history to let people know that that was a cool way to be back in 1987. Now we can look at it and go, "Oh, that ain't cool."

Pitchfork: Unlike in Decline I and III, there's little vulnerability among the bands in Decline II. Do you think there was that side to them?

PS: They were not so much vulnerable as subject to disappointment. The whole posture of the scene then was confidence and arrogance. As someone older than they were, I knew they weren't all gonna make it. I also knew that for them to have that as a goal was so superficial. Even if they did get all the money and glamor and glory and fame, that wasn't gonna make them happy.
Poison's Bret Michaels and Spheeris circa Decline II

Pitchfork: The sexual identity of the men in Decline II is really interesting. There's a huge drag aspect to their attire, but they're so aggressively masculine and predatory.

PS: I believe the reason that they dressed so feminine is so that so that they didn't intimidate the young girls; the guys with the makeup and the fluffy hair were going to get laid a little quicker. And the key there is young girls. When Anna was working on Decline II, she was going out with Nikki Sixx—it was one of the worst times of my life! All my rock'n'roll lifestyle had come back to bite me in the ass because—how old were you, darling?

Anna Fox: 17.

PS: And from the story I heard, he might have bragged that you were younger.

AF: Yeah, he told everybody I was 15.

Pitchfork: I can't imagine the stress of your child going out with Nikki Sixx.

PS: I made him come over to the house to meet me because that was the rule. So he came over and that was, you know, [sarcastically] fun.

Pitchfork: Did he behave himself?

PS: No. [laughs]

AF: He was all done up because he had just done a photoshoot: full make-up, full costume, hair teased out. What did he say to you?

PS: "You said that you didn't want your daughter going out with a 40-year-heroin addict, and I don't like that." I told him, "I'm sorry, I don't mean to insult you. How old are you?" He couldn't dispute the heroin addict aspect.

Pitchfork: I love that he had the brass balls to get offended by that.

PS: I think the black rubber suit he was wearing and his charged-up hair gave him a little more confidence.

Pitchfork: Anna, how long did you go out with him for?

AF: Probably six months. But when you're 17, six months seems like forever.

Pitchfork: Did you break up with him?

AF: He was going on tour for the Girls, Girls, Girls album, so it really didn't make much sense for us to continue going out.

Pitchfork: Let's get onto Decline III. How were the gutter punks perceived by people in the scene who weren't homeless?

PS : They were given a certain kind of respect because of their situation. What I found interesting is that it's human nature to have a family, so they formed new families. They were very protective of each other and still, to this day, so many of them are just as close.

Pitchfork: By the time you made Decline III, the world wasn't as up in arms about punk corrupting kids—but the film makes the point that they were actually corrupted by forces much closer to home.

PS: In 2013, I got my license to be a foster parent, just as a way to try and help these kids. I feel like you have to do something. My cross to bear at this point is how the mentally ill are treated in the United States. It is horrible. I'd love to do a movie on it, but you can't because of privacy issues.

I was going to try and direct a film about mental illness once. I remember standing in Patton State Hospital for the Criminally Insane doing research and then getting on a phone there and calling my agent and saying, "Where does that movie at Paramount stand?" He said that I got the job. That was Wayne's World. So I was either going to do a movie on the criminally insane or Wayne's World. It was a critical turning point in my life.

Pitchfork: Do you think you might revisit that project?

PS: If I could do that documentary, I really would. The reason I've become so interested in it is because when I did Decline III, I met my boyfriend of 18 years. He is a wonderful person and extremely brilliant. He was homeless for 10 years before I met him and unfortunately he's affected with schizophrenia. As brilliant as he is, he's been in a mental hospital for a year. I have learned the ins and outs of that system and how those people are treated, and it is horrible. I've been struggling for about 10 days now to get him a blanket.

Pitchfork: Was that a strange dynamic to start a relationship from?

PS: There's a 20-year difference in our age—he's 50 now. It was pretty incredible, I guess, for him to go from totally homeless to living in a $2 million home on three acres in glamour city. But he's truly a punk at heart and he doesn't give a shit about all that stuff. There's plenty of star-studded dinners that I've invited him to go with me to and he just won't. He's like, "Why would I wanna go to a fucking Bradley Cooper party?" [laughs]

Pitchfork: How did you fall for each other?

PS: While I was cutting the movie, I was driving down the street and I saw him sitting on a bus bench. I pulled up and asked if he remembered me. Turned out he had been looking for me. We had dinner one night, and he was fucking filthy, man. I thought I was just being nice and buying the guy dinner, and then when he got out of the car he kissed me! [laughs] He said, "If you ever want to see me, I hang out at Borders and I'm usually in the physics or philosophy aisle." I was scared of him at first, but then I kept going back every day to take him to lunch. I was with him for 19 years. If you know that movie A Beautiful Mind—that's him. He's a genius. Unfortunately, now he's in a mental hospital, but we're trying to get him out.
The '90s punks of Decline III

Pitchfork: Turning to future projects, I heard you were directing a Johnny Rotten biopic?

PS: I was dealing with him for a while and I don't believe it's gonna happen. But somebody should make that movie because it's such an important story. I just don't know if he's got the mindset to do it. I love him, and I think he changed the world, especially the world of music, but he was suffering from the same thing I was—you get to a certain age and you go, "What is my identity?" What's Johnny Rotten's identity? The birth of punk, the Sex Pistols. You want to get it right, and I think John is afraid to get it right.

Pitchfork: A few years ago you said there was a fourth Decline project in the works. Is that still happening?

PS: We've started working on it, but I'm not allowed to say [what it focuses on] because it would make us vulnerable to people doing something similar.

Pitchfork: Is it about music?

PS: It's about music. That's the nature of The Decline.

[crippled_avenger]

Nicolas Winding Refn nastavlja svojim stazama i bogazama u svetu high profile filmmakinga. Posle danske faze i isprva neuspešnog a potom i uspešnog prelaska na English-speaking filmove, Refn ne uspeva da se iznese sa izazovima koji se pred njega postavljaju. Ako je DRIVE bio srećan kraj jednog projekta koji je ličio na ostvaren vlažni san pajkićevca iz osamdesetih, onda je ONLY GOD FORGIVES bio katastrofalan spoj antonionijevske meditacije i tarantinovske polemike sa tradicijama neameričkog filma. THE NEON DEMON je produžetak tog usmerenja drugim sredstvima. U njemu, Refn kombinuje iskustvo iz DRIVEa sa ambicijama iz ONLY GOD FORGIVES.

Iskustvo iz DRIVEa je pre svega da film mora imati nekakvu priču, vrlo rudimentarnu i žanrovski gotovo naivnu, i da se ipak narativno mora kretati od nekakvog početka prema nekakvom kraju. Iz ONLY GOD FORGIVES ponovo preuzima želju za meditacijom antonionijevskog tipa prepletenu sa tarantinovskim posvetama exploitation filmu.

Refn deluje kao da je pod stare dane dobio invite za Cinemageddon, i nekako ne shvata da je ta vrsta crate-digginga ipak odavno passe. Zato je THE NEON DEMON film koji u svojim posvetama starim autorima poput Jessa Franca ili Franjua, pa čak i Cluzora, deluje začuđujuće bajato i prepun opštih mesta. Međutim, iako Refn u tim deonicama rado koketira sa estetikom treša, ni ne shvata da se pravi treš krije u onome što on vidi kao svoju ličnu nadogradnju i uzdizanje ovoga na nivo arta.

Naime, Refn i art postupci su uvek bili u raskoraku, pa tako svaki njegov pokupšaj da proizvede nekakvu kontemplativnost ili estetizaciju liče na naivni hack nekog netalentovanog studenta režije sa srpskog privatnog fakulteta. Otud THE NEON DEMON stoji kao jedan od onih filmova koje vole ljudi koji ne mogu da upišu režiju, kao delo nekog napaljenog netalenta koji je upravo pogleda HUNGER Tonyja Scotta i pomislio da bi i on mogao tako.

Refnova estetizacija je u ovom filmu s jedne strane oslonjena na fascinaciju amerikanom kao iz DRIVEa i jako se slabo povezuje sa glamuroznim svetom mode o kome pokušava da govori, tako da praktično imamo dva filma, jedan govori o svetu mode a drugi o fetišizovanom linčovskom motelu-ćumezu u kome obitava glavna junakinja.

Elle Fanning je odabrala THE NEON DEMON da joj bude prva kontroverzna, odrasla uloga, i ko je može kriviti jer Refn ima prilično ozbiljnu reputaciju. Ipak, nadam se da će uskoro svoje izbore početi da profiliše malo i po onome šta konkretni projekti nude. Međutim, Refn ima taj estradni dar da učesnicima projekta kao i gledaocima umesto kvaliteta ponudi uspešnu iluziju slike o samima sebi. Tako ljudi koji gledaju koji prisustvuju nesnošljivom trešu THE NEON DEMONa u najgorem slučaju misle da su gledali kanski filmski eksces, a glumci misle da su konačno iskoračili iz comfort zonea.

Nažalost, THE NEON DEMON je prazna priča.

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[crippled_avenger]

Prvo pero španskog žanrovskog filma, Alberto Merini, snimio je svoj rediteljski debi SUMMER CAMP. Nažalost, ova Filmaxova produkcija na engleskom jeziku ne dobacuje do Merinijevih vrhunaca i neobično je da se opredelio da debituje baš sa ovim projektom. Prvo, na scenariju je tek drugopotpisani. Drugo, SUMMER CAMP je svedena priča o letnjem kampu gde nekakav virus koji pobuđuje agresiju napada ljude ali se film dešava pre nego što su stigla deca i ima vrlo mali broj protagonista, što svodi celu priču na međusobnu borbu između manje od ukupno desetak likova, od kojih jedva četiri imaju nekakav protagonizam.

Premisa je trashy i jedini način da profunkcioniše je genijalna inscenacija. Iako je Merini daleko od slabog reditelja, genije ipak nije, pa samim tim ne uspeva da prevaziđe sva inherentna ograničenja materijala za koji se opredelio.

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[eddie coyle]

Samoubilačka Škvadra vs Identity Politics


http://www.thedailybeast.com/articles/2016/08/05/suicide-squad-s-retrograde-misogyny-the-trials-of-margot-robbie-s-harley-quinn.html

[crippled_avenger]

Pogledao sam A HOLOGRAM FOR THE  KING Toma Tykwera. Reč je o ekranizaciji romana Dave Eggersa koju je producirao i glumački obeležio Tom Hanks kog možemo smatrati piščevim ključnim osloncem u Holivudu. Hanks je ne samo otkupio i producirao dve ekranizacije Eggersa u poslednje dve godine već mu je omogućio i prvi scenaristički posao na filmu Spike Jonzea. Dakle, Hanks je prepoznao Eggersa, i A HOLOGRAM FOR THE KING je prva high profile ekranizacija njegove proze. Tom Tykwer je veliko internacionalno rediteljsko ime, i sve predispozicije za veliki film su tu. Međutim,  A HOLOGRAM FOR THE KING to nije. Paradoksalno, uprkos Tykwerovom angažmanu, A HOLOGRAM FOR THE KING je izrazito "mali" film, sa malom pričom među karakterima, malim "idejama" koje obrađuje, i malim dometom.

Nisam protivnik "malih" filmova koji pričaju "velike" priče, u čemu se Eggers pokazao kao velemajstor na filmu PROMISED LAND Gusa Van Santa, međutim A HOLOGRAM FOR THE KING naprosto ne uspeva da uhvati bilo kakvu trakciju. On može biti zanimljiv nama u Srbiji jer ima aluzija na "Beograd na vodi", ko voli Hanksa kao glumca može da uživa u njegovoj vrlo predanoj glumi, ali ko voli Hanksa kao producenta ili reditelja, neće dobiti ono što karakteriše njegove radove "iza kamere". Hanksovi radovi su uvek višeslojni, narativno precizni, tehnički dobro realizovani, inteligentni, a od svega toga  A HOLOGRAM FOR THE KING zadržava samo tragove Tykwerove sposobnosti da snimi nešto atraktivno, i pretenziju da se obraća upmarket publici.

Sve ostalo je začuđujuće šuplje, površno, nenadahnuto. Eggersovi romani me nisu naročito impresionirali, ali mislim da nose u sebi više vrednosti nego što je Tykwer uspeo da izvuče u ovom filmu.

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[crippled_avenger]

Izgleda da nisam veći katolik od Pape...

http://www.comicmix.com/2016/08/07/john-ostrander-reviews-the-suicide-squad/


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[Meho Krljic]

Nisi, ali Ostrander korektno primećuje:

The antagonist(s) are not well defined and, to my mind, you need a good antagonist to help define the protagonist(s). It's the antagonist who usually sets the plot in motion and it is defined by what they want. The story is a little more generic "we have to save the world" than I usually did; I always liked having one foot squarely in reality. I also liked having a political and/or social edge in my Squad stories. That would also give a greater feel of reality and I don't see that here.

[crippled_avenger]

Ja mislim da ovaj film ima dosta jako "political and/or social edge" i opisao sam kako to vidim...


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[crippled_avenger]

"We're bad guys, it's what we do!" Now that David Ayer's Suicide Squad has arrived in cinemas, we can finally see just how detestable this bunch of bad guys really are. And, now the film's out, we can also get to the nitty gritty of all of those pre-release rumours – and whether any of them manifested in the final film. Director Ayer talked us through some of his previous cuts, why his latest film is an "anarchic punk rock art movie", and his responsibility to the DC Extended Universe at large.

WARNING: there are spoilers for Suicide Squad throughout this article.
1. The original script started in Belle Reve

belle reve suicide squad

"The very first script started in Belle Reve and told the backstories of everybody in these sort of flashback montages. The original conception is that there would be these memory bursts as they sat in their cells recalling their previous lives and also get the audience up to speed about who they are and how they ended up there. The first impulse was always to do a montage in the first act, but you chase different things."
2. It's an 'anarchic punk rock art movie'

enchantress suicide squad

"The film is really the journey of the soul. I know this is going to provoke incredible howls of outrage, but it's really this anarchic punk rock art movie. June Moone goes into this cave where she becomes possessed by this alter-ego that's hypersexual and primitive and destructive and vengeful. Everybody who has to take her down experiences their own sort of 'dark night of the soul' as Enchantress offers up this fantasy reality where she can provide them with a false nirvana, false happiness. The film, in a lot of ways, is really about the splitting of the personality and addiction, and the dark side of the soul."
3. It was the bat way or no way

ben affleck batman suit

"When I signed on, I explicitly asked for Batman. Everything's always done in his viewpoint, in this case we see Batman through the eyes of the baddies that he arrests, so I thought it was important to show how he takes them down."
4. There's no R-rated cut

harley quinn tongue

"You could easily make this R-rated by having two F-bombs or someone smoke a cigarette. But that's not what I think people mean when they ask for an R-rated version, so it was always meant to be a PG-13. It's a decision you make before you turn the cameras on."
5. Scott Eastwood isn't playing Dick Grayson. Or Roy Harper. Sorry

scott eastwood suicide squad

"He's Flag's right-hand man, GQ, a fairly straightforward military character."
6. Only two Skwad members were ever going to snuff it

rick flag harley quinn deadshot boomerang

"There was never a third. It's pretty standard in the structure of all the Suicide Squad stories that somebody rebels against the system and gets executed by Amanda [Waller] or Flag, so it was important to show the consequences. You're always wrestling with something like this, you know, 'Why would the bad guys play along?'."
7. Boomerang's pink plush unicorn, 'Pinky', was a late addition

boomerang unicorn suicide squad

"[Pinky] was actually intended to be a piece of set decoration in one of our office building sets. I thought [Boomerang] needed a little something kind of fun and silly and it kept appearing throughout the film. It became a bit of a mascot. Yes, [he's a] Brony. Which is fine. I think it's a good thing and gives him a little hobby besides robbing banks."
8. The Joker owes his 'damaged' tattoo to the Boy Wonder

robin batman v superman

"This is sort of my personal thing and maybe less about a larger connection. But Joker killed Robin and Batman basically smashes his teeth out and locks him up in Arkham Asylum. It's in the asylum where Joker would have done the 'damaged' tattoo as a message to Batman saying, 'You've damaged me. I was so beautiful before and now you've destroyed my face.' That's where the grill comes from."
9. The version you see in cinemas is the 'dossier' version

amander waller dossier suicide squad

"There's a linear version we did where it opens up with June in the cave and tells the story in sequence with the arrests and Batman, and then we go to Belle Reve. Honestly, there may be six or seven different versions of the film. In that version, [test] audiences were left with a lot of questions and a little disoriented as to who to watch and why. So we came up with what we call the 'dossier' version which has Amanda presenting the backstories and origins of the various members."
10. Amanda Waller gets what Amanda Waller wants

viola davis suicide squad

"She's an intelligence officer, and if you start running down the logic trails of things and you have this Batman figure acting as a vigilante – and at this point he's been doing it for maybe 20 years – the intelligence services would absolutely figure out who this guy is and where he comes from. You'd put a friggin' drone over Gotham City and just track the guy, it's only logical. Amanda Waller would somehow get this information. There's something fascinating in how she could wrangle these monsters. She has to be an apex predator in order to control them."
11. Ayer has no regrets over Slipknot's early demise

adam beach slipknot

"You have to pick and choose your battles, and Slipknot gets his head blown off pretty quickly. I made a commitment early on not to try and create some kind of misdirect, because when you have that many characters, every frame of real estate is priceless. I didn't want to invest in that real estate to create some misdirect, because after opening night everyone knows he dies anyway."
12. Pink Floyd inspired a scene involving The Joker

jared leto the joker knives

"Yes, there's some onesies (you can just see a baby onesie in the top right of the above picture). Some roses, some onesies, some piano keys, cell phones, laptops, obviously a lot of knives and weapons, a lot of empty bottles and some tied-off bags of god knows what. It was inspired a little bit from Pink Floyd, the movie when Pete goes insane in the hotel room."
13. Ayer didn't feel constrained by the DC Cinematic Universe at large

the justice league movie

"Initially there was a lot of discussion about how to connect to the Justice League movie. Obviously in continuity this is post-Batman V Superman, but Wonder Woman is an earlier timeline than this so I was kind of free and clear of any friendly fire. But Flash and Aquaman are sort of in present day timelines, so we just had to steer clear of all that. My best analogy is: this is a fleet of ships crossing the ocean, but you get to be captain of your own vessel."
14. Don't call Jared Leto's performance a cameo

jared leto joker laughing

"I think there was an expectation of what the film should have been. People really wanted more Joker and wanted him to be an A-plot component. And it's funny how the critics call it a cameo but he has some fantastic sequences that are really important for the film. He really influences the journey quite a bit."
15. There's a reason The Flash captured Captain Boomerang

ezra miller the flash

"Boomerang is a Flash character, a Flash villain, traditionally. So it only made sense that it would be The Flash that captured him, so we dropped Ezra [Miller] in for his brief cameo. There's a history of rivalry between them."
16. Amanda Waller is the mission

enchantress shhh suicide squad

"The movie is basically Amanda Waller covering up her mistake, because she was the one that decided to use Enchantress as part of the original core Suicide Squad. Waller deploys her to clean up this entity that appears, which unbeknownst to Amanda is actually Enchantress's brother. So Enchantress engineers her escape from Amanda Waller and then Waller decides to cover it up by having the Suicide Squad rescue her and get her out of that city. It's funny because the plot gets deemed as being incredibly simple, but it's actually extremely complex!"
17. So just what is on Griggs' (Ike Barinholtz) internet history?

ike barinholtz suicide squad

"I think it's better left unsaid! I think he does a lot of eBay shopping."

[crippled_avenger]

Black Manta, the most famous and lethal of the various foes of DC Comics underwater hero Aquaman, will serve as the main antagonist of the James Wan-directed "Aquaman" solo film at Warner Bros. Pictures says The Wrap. Jason Momoa will reprise the role of the King of Atlantis which he's currently playing in the in-production "Justice League" film.

First introduced in 1967 and having undergone several revisions, each version of Black Manta essentially has him vowing revenge on Aquaman for a perceived slight be it the accidental death of a father to the not intervening when he was kidnapped and sexually abused. Manta is a violent human with a battle-suit capable of functioning in any oceanic environment.

There was a rumor last year that Common might play the role but that's no longer the case it seems. Will Beal is writing the screenplay based off a treament by Geoff Johns and James Wan. The film is currently targeting a July 27th 2018 release.

[crippled_avenger]

Scott Mann je pre nekih šest godina napravio ršum na akcionoj sceni sa izvanrednim i zapravo jniskobudžetnik akcijašem THE TOURNAMENT. Ovaj britanski reditelj uzeo je elemente koji su godinama marinirani u DTV kapacitetima i napravio izvanredan akcijaš paklenog tempa i inventivne inscenacije posle kog je delovalo da će napraviti i skok u bioskopske redove. To se nažalost nije desilo i šest godina kasnije isporučio je film HEIST. Taj film ima dosta jaku B-podelu, gostuje De Niro, igraju Jeffrey Dean Morgan, Gina Carano i Dave Bautista, solidno je inscenirano sve što treba, međutim to nije film koji dobacuje do TOURNAMENTa a naročito ne do bioskopskog kalibra.


Scott Mann je ponovo sve dosta solidno inscenirao, film je atraktivan, ali onoga u čemu je Mann najjači, a to je akcija, ovde ipak nema dovoljno. Okosnica nije akcija već tarantinovski heist krimić i u tom domenu ni scenario ni sam Mann nemaju šta puno da kažu.


Nažalost, HEIST nije bio pravi projekat za Mannov progres sa DTV scene. Uprkos tome što mi se čini da u krajnjem zbiru ovaj film neće bitno ugroziti njegovu poziciju, ipak na kraju krajeva predstavlja propuštenu priliku i stoji kao izgubljeno vreme.


Ako tome dodamo da se Gina Carano bije u samo jednoj i to vrlo kratkoj sceni, rekao bih da je HEIST bio gubitak vremena i za nju, ne samo za Manna.


* * / * * * *

[crippled_avenger]

Pogledao sam film KRYPTONITA Nicanora Loretija, eglanizaciju romana Leonarda Oyole u kome pisac direktno preuzima mitolgiju DC Justice league i polazi od premise da je Kal El pao u Argentinu a ne u Ameriku. Međutim, kako je Kal El pao među argentinsku sitrotinju samim tim nije postao Superman, pa su i ostatak Justice League izmenjeni a opet prepoznatljivi junaci - Wonder Woman koja je transvestit, Batman je policajac željan avanture, Flash je brzonogi uličar-šunjalica itd.

KRYPTONITA se bavi premisom Kal Elovog pada van Amerike na filmu, pa je samim tim sve ovo ekskluzivnije od sličnih pokušaja koje su pravili Kim Newman ili Mark Millar, iako su njihove inrepretacije, naročito Millarova, promišljenije i bolje. Međutim, KRYPTONITA se drsko pojavljuje u periodu kada je DCEU u ekspanziji, i nudi viđenje tog tipa priče iz subalternog ugla.

Argentinci su bili skloni dekonstrukciji superherojskog filma, setimo se ZENITRAMa Luisa Baronea. ZENITRAM je imao vrlo jasan politički angažman, i govorio je praktično o dnevnopolitičkim temama.

KRYPTONITA ne može pobeći od izvesnog koketiranja sa trešom jer naprosto teško je ovakvu premisu ispratiti bez toga. Međutim, KRYPTONITA u osnovi nije ni parodija žanra, pa na neki način nije ni ismevanje DC junaka. Ovo je zbilja jedna interpretacija DC univerzuma da se desio u Argentini, s tim što je dat u formi siege filma, bez puno specijalnih efekata, na prelazu između hightened realisma i comic book filma.

Ono gde KRYPTONITA kao prevashodno polemička drama pada jeste upravo to što Nicanor Loreti ne uspeva da zbog fascinacije dekonstruisanim DC likovima razvije valjan siege film. A opet kamerna siege atmosfera sprečava da se razvije pravi comic book ili superhero film. Na kraju, KRYPTONITA ostaje žestoko nedorečen.

Ipak, mislim da je ovo daleko od bilo kakvog od fan fictiona. Ovo de facto jeste uključivanje jedne vanameričjke kinematografije u superherojsku temu. Šteta je što KRYPTONITA nema mnogo šta da kaže u tom dijalogu. Ali, svakako da fanovi superherojskog filma, a naročito DCa treba da pogledaju ovaj film. Nicanor Loreti je stekao ime kao reditelj i producent trash i gore filmova. KRYPTONITA nije ni jedno ni drugo ali ima bezobrazluk kakav nose reditelji baš takvih filmova.

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[crippled_avenger]

https://www.youtube.com/watch?v=eGudrpa40fs

[crippled_avenger]

Syfy and Universal Cable Productions have tapped comic book writer Grant Morrison and writer-director Brian Taylor to adapt Aldous Huxley's iconic sci-fi novel "Brave New World," which is set up at Amblin Television. Morrison and Taylor will serve as executive producers, along with Amblin Television co-presidents Darryl Frank and Justin Falvey.


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[Meho Krljic]

Biće to tripozna adaptacija 

[crippled_avenger]

Pogledao sam EMBERS Claire Carre, arty naučnofantastični film koji govori o postapokaliptičnom svetu u kome su ljudi masovno doživeli gubitak sećanja, kako dugoročnog, tako i kratkoročnog. Film uporedo prati tri priče, par koji iznova svakog jutra mora da shvati u kakvom je odnosu, dečaka kog pronalazi čuveni naučnik i ekspert za sećanja koji takođe pati od amnezije, i ocu i kćeri koju se zatvorili u bunkeru i zaštitili se od bolesti.

Postavka u kojoj ljudi stalno gube sećanja, bila je tema raznih uspešnih filmova od MEMENTOa do 50 FIRST DATES, međutim, Claire Carre ne zanima takav narativ. Kod nje naime to nije slučaj kod jednog junaka već svi junaci imaju taj problem i ne sreću nikoga ko se ičega seća.

Carre kroz ovu priču pokušava da istraži temu "života u sadašnjosti", odnos esencijalističkog u odnosu na egzistencijalističko, i u principu pronalazi pristojan recept za arty SF film. Ipak, jasno je da u njenom slučaju arty ima prvo mesto. No, način na koji je estetizovan bunker u kome se odvija linija priča o neinficiranim ljudima sugeriše da autorku uzbuđuje i imaginarijum futurističkog SF filma.

* * 1/2 / * * * *

[Meho Krljic]

Priča Sketches among the ruins of my mind objavljena u jednom od Monolita a koju je napisao Philip Jose Farmer ima istu premisu a solidno je pripovedački zaokružena. Preporuka.

[crippled_avenger]

http://variety.com/2016/film/news/die-antwoord-accuse-suicide-squad-stealing-style-1201835563/

Samo su još oni falili


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