Horori do kraja godine...

[Kunac]

Godina se bliži kraju... Dosadasnja produkcija nije bila baš vrhunska (mada su mi se dopali The Descent & LotD, možda i Đavolji škart bude OK - još ga nisam pogledao), ostaje da se vidi šta nas još očekuje...
Uzeo sam u obzir samo naslove koji imaju zakazanu premijeru do kraja godine...

THE EXORCISM OF EMILY ROSE
CRY_WOLF
VENOM
RETURN OF THE LIVING DEAD: RAVE TO THE GRAVE
THE FOG - remake
DOOM
SAW II
WOLF CREEK

Koji je vaš favorit? Da li sam nešto propustio?

Ja tipujem na Emily Rose, Ghoul na Wolf Creek... Takođe, potajno se nadam da će RotLD IV biti  zabavan i uzbudljiv. Ostalo... Vrlo sam skeptičan.

[Ghoul]

ako ćemo samo o amerima, od ovih ponuđenih, tipujem kao na jakog igrača jedino na WOLF CREEK (koji čak i nije amer već australopitek, al dobro sad).

tipovao bih još na HOSTEL i SLITHER, ali oni će, kako izgleda, da nas raduju iduće godine.

FOG rimejk bi mogao da pruži solidnu zabavu, pod uslovom da su izmenili onaj imbecilni uslov iz originala da samo 6 komada ima da budu žrtvama osvete.

imam vrlo jak vrlo loš osećaj po pitanju EMILY ROSE - skoro sam siguran da će da me iznervira i natera na bljuvanje i pljuvanje kao ništa još od šjamlanovog ZASEOKA.
paz' da nećeš na sudu da dokažeš postojanje Đavola!
te courtroom drame su najogavniji pod-žanr američkog filma, nešto od čega dobijam ospice, ideologija iza toga mi ide na jetra i inače, a u spoju s ovom tematikom - za mene, to ne može da bude dobro.

a sad, ESP: evo šta mi se javlja da će moja tarifa da kaže kad odgledam ove ođe:

THE EXORCISM OF EMILY ROSE = 2
CRY_WOLF = 2+
VENOM = 3
RETURN OF THE LIVING DEAD: RAVE TO THE GRAVE = 3-
THE FOG - remake = 3
DOOM = 2+ / 3-
SAW II = 3
WOLF CREEK = 4-

[Tex Murphy]

Ja se uzdam u DOOM. Tj. više se nadam nego što se uzdam, stvarno ne bih volio da naprave neki krš od filma po toj legendarnoj igri. Sjećam se da se tamo prije nekih desetak godina govorilo o ekranizaciji Dooma sa Švarcijem a režiser je trebalo da bude Ivan Rajtman.

[Milosh]

Pogledajte samo sta to ima DVD premijeru 15. novembra! Ne mogu da verujem da su odlucili da snime i treci deo.  

http://www.imdb.com/title/tt0449066/combined

[Kunac]

THE EXORCISM OF EMILY ROSE - prve kritike su pozitivne. prica se da riba koja igra naslovnu ulogu jebe kevu kevinu. navodno, radi se o prvom valjanom exorcist rip-ofu.

CRY_WOLF - teen cyber slasher. igra  lindy booth a.k.a. ridjokosi slatkis. mala je iskusna - vec su je gricnuli kanibali u pogrsnom skretanju, i napadali zombiji u rimejku zore.

VENOM - ne, nije film s nedom arneric vec jos jedan teen slasher. ovog puta nije cyber, vec voodoo. jim znam sta ste radili proslog leta gillespie rezira, kevin vrisak williamson producira. mislim da je ovo poslednji film koji ce nositi dimension oznaku (sto je, imajuci u vidu njihov doprinos zanru u poslednjih nekoliko godina dovoljan razlog za slavlje). za sada, film dobija kataklizmicne kritike.

RETURN OF THE LIVING DEAD: RAVE TO THE GRAVE - sta reci? ovo je zapravo peti deo, ali ga distrivuiraju pre cetvrtog. imajuci u vidu da se price nadovezuju, nije mi jasno u cemu je stos. u svakom slucaju, ovo moze da bude gledljiva trashina...

THE FOG - moze da bude zabavno. trailer je dobar, ali koji pa i nije... uvek sam smatrao da karpijev film moze da se poboljsa (premisa je sjana, sama egzekucija bi mogla da bude i bolja), pitanje je da li ce novi reditelj imati talenta i prilike da to i ucini.

DOOM - plasi me sto trailer podseca na resident evil film... ali, na prvi pogled, cini mi se da su, bar delimicno, skinuli atmosferu iz igre. i to je nesto. a tu je i rock...

SAW II - ko zna... prvi je bio ok... drugi... verovatno ce biti znatno losiji. mislim da se radi o na brzinu sklepanom nastavku...

WOLF CREEK - obecava, sudeci po kritikama. trailer je, za promenu, grooooooooooooooooooooooooooooooooooooozan.[/b]

[otaku]

te courtroom drame su najogavniji pod-žanr američkog filma, nešto od čega dobijam ospice, ideologija iza toga mi ide na jetra i inače

sa ovim se slazem u potpunosti, izuzetak je jedino Moj rodjak Vini

[Tex Murphy]

DOOM - plasi me sto trailer podseca na resident evil film... ali, na prvi pogled, cini mi se da su, bar delimicno, skinuli atmosferu iz igre. i to je nesto. a tu je i rock...

Hm, na koju igru misliš? Pretpostavljam da se radi o trećem dijelu (jer sam čitao da je dotični film prvenstveno inspirisan Doomom 3), ali atmosfera trojke nema nikakve veze sa prva dva dijela, već mnooooogo više vuče na survival horror igre. Tako da ne čudi što trejler tako izgleda. A kad bi neko kojim slučajem uspio da (dobro) skine atmosferu prvog ili drugog Dooma, u pitanju bi sigurno bio najbolji akcioni film svih vremena. Legenda je legenda...

[Tex Murphy]

Pogledajte samo sta to ima DVD premijeru 15. novembra! Ne mogu da verujem da su odlucili da snime i treci deo.  

http://www.imdb.com/title/tt0449066/combined

Wooohooo!!! Sudeći po kreditima, glavna uloga je niko drugi nego REGGIE "PHANTASM 1, 2, 3, 4, 5, 6, ... , n, n+1,..." BANNISTER!!!!!!!! Pa to se mora gledati! Car ostaje car!

(i ne znam otkud im ovo da je film rađen po "noveli" Stivena Kinga, koliko se sjećam Mangler je obična kratka priča iz zbirke Night Shift)

[Kunac]

Hm, na koju igru misliš?

Da, mislim na trojku. Prva dva dela nisam igrao.

[angel011]

te courtroom drame su najogavniji pod-žanr američkog filma, nešto od čega dobijam ospice, ideologija iza toga mi ide na jetra i inače

sa ovim se slazem u potpunosti, izuzetak je jedino Moj rodjak Vini

Zato što je zezanje.

[Ghoul]

Dominantni rivjui su baš ono što očekujem – dakle, budalaština koju je neozbiljno shvatati ozbiljno (čak i za OVAJ žanr)

I NE SAMO BUDALAŠTINA, NEGO I OGAVNA KATOLIČKA PROPAGANDA:

The Exorcism of Emily Rose is "based on a true story," its audience is told -- words, says the New York Times'A.O. Scott, that are "guaranteed to scare most movie critics." Scott is not among them, however. The movie, he says, "ranges from OK to god-awful." However, he remarks, it represents "a fascinating cultural document in the age of intelligent design. Its point of view suggests an improbable alliance of postmodern relativism and absolute religious faith against the supposed tyranny of scientific empiricism, which is depicted as narrow and dogmatic." Similarly David Gilmour writes in the Toronto Globe & Mail that the movie is likely to "find a sympathetic home among doctrinaire Catholics and among those many people who were moved by Mel Gibson's The Passion of the Christ." Few other critics even bother to take the film seriously. Michael Sragow in the Baltimore Sun observes: "The selling point of this piece of "serious" horror is that it's rooted in fact. Unfortunately, nothing in it rings with the faintest tinkle of truth." Jami Bernard in the New York Daily News calls it "the dullest exorcist movie ever made." Likewise, Philip Wuntch in the Dallas Morning News describes it as "a largely ho-hum experience." On the other hand, Roger Ebert in the Chicago Sun-Times is one of the few critics to give the film a thumbs-up, calling it "intriguing and perplexing."

AMA BAŠ ONO ŠTO SAM I MISLIO – NIMALO NE SUMNJAM DA JE OVO DOLE 100% TAČNO:

The sincerity of a believer - Father Moore, in this case - is conflated with the plausibility of his beliefs. The doctors, meanwhile, seem so sure of themselves. But of course, the movie says, no one can ever be completely sure, and thus superstition becomes a matter of reasonable doubt. Meanwhile the clocks stop, the wind howls, and we are encouraged to believe - or at least not to disbelieve - our own eyes. Father Moore knows what he saw. So do I: propaganda disguised as entertainment.

[Tex Murphy]

I NE SAMO BUDALAŠTINA, NEGO I OGAVNA KATOLIČKA PROPAGANDA

  Znači da će se meni svidjeti! Slab sam na sve vrste religioznog fundamentalizma u filmovima  

Similarly David Gilmour writes...

Šta, čovjek batalio gitaru i latio se kritičarskog pera?

[Kunac]

Ghoule, čoveče, ti si se baš navrzo na jadnu Emily Rose...

[Ghoul]

Nije 'jadna'!
Ništa što je katoličko nije jadno!
Majke im ga propagandističke, oni će meni da prodaju te sujeverice kojima su 2 milenijuma zaglupljivali narod! Oni će meni da blate poštene ateiste koji naprasno uviđaju svoju 'grešku' i na kraju postaju vernici... To je bre zlo, Zlo, ZLO!!!

I još jednom – ZLO!

(i skrnavljenje žanra)

[Kunac]

...tipovao bih još na HOSTEL i SLITHER, ali oni će, kako izgleda, da nas raduju iduće godine.

Mislim da Slither (ili bolje: Shiter) nece obradovati puno ljudi...
Read on...
http://www.horrorchannel.com/dread/modules.php?op=modload&name=Reviews&file=index&req=showcontent&id=528

A sto se Emily tiche, verska (ne)ubedjenja ne bi trebala a priori da otpishu film.

[angel011]

Prema Emily sam i ja sumnjičava. Ne sećam se kad sam videla "based on a true story" film koji je nešto valjao.

[Ghoul]

ma da su barem ispratili taj istiniti događaj, možda bi to nešto i valjalo.

jer, 'istiniti događaj' se desio u nemačkoj, a ne američkoj zabiti, a što je još gore - u USA verziji su sasvim izmenili kraj

spoiler:

u stvarnosti, i pop i familija su osuđeni, kao što i treba, što curu nisu lečili kako valja nego se zaglupljivali imbecilnom pričom o 'opsednutosti'; u američkom filmu, kako izgleda, na kraju sud oslobađa popa i, implicitno, potvrđuje da u toj sumpornoj budalaštini 'ima nešto'...    

[angel011]

Ugh. Ne bi mi smetala katolička propaganda kad to ne bi upropastilo film i kad ta propaganda ne bi bila idiotska.

Mislim, ok, to je jedini slučaj demonske opsednutosti koji katolička crkva priznaje, ali može valjda i na pametniji način da se sugeriše da u toj priči ima nešto, ako je već to ono što autor filma želi.

Ugh.

[Ghoul]

Znas sta, kunac, ja mogu da 'oprostim' nacizam kad ga velicha jedna leni rifenshtal, mogu da oprostim cak i katolicizam kad ga propoveda genije poput fridkina, ali nešto se bojim da u slučaju emili imamo slučaj jednog jedva-kompetentnog parčeta jeftine kvazi-duhovne propagande u kome nikakav stil i nikakva forma neće moći da iskupi ogavnu ideologiju.

[Kunac]

Znas sta, kunac, ja mogu da 'oprostim' nacizam kad ga velicha jedna leni rifenshtal, mogu da oprostim cak i katolicizam kad ga propoveda genije poput fridkina, ali nešto se bojim da u slučaju emili imamo slučaj jednog jedva-kompetentnog parčeta jeftine kvazi-duhovne propagande u kome nikakav stil i nikakva forma neće moći da iskupi ogavnu ideologiju.

Ghoule, najverovatnije si potpuno u pravu.

[Ghoul]

Ghoule, najverovatnije si potpuno u pravu.

čuj, 'najverovatnije'...  

[Black Mamba]

pogledah The Exorcism of Emily Rose.... pa, skoro pa skroz bzvz.. ima dosta mana, bez obzira, bio mi je bio prilicno neuverljiv..... Emily jeste imala [jako] dobru ulogu, mislim, jako dobro ju je odradila, ali za moj ukus mislim da su joj nakacili i previse vristanja - samo jedan od razloga sto mi je citava prica delovala neuverljivo....

nekih specijalnih efekata skoro i da nema, ok, ali takodje mislim da su to mogli bolje da odrade

previse razvlacenja na sudu.. sto me je u par navrata uspavalo

itd....

sve u svemu..... koliko vidim, ovo je klasicno navlacenje na veru u Boga, nesto slicno kao sto su uradili i sa The Passion of the Christ, samo u blazoj verziji... i, ko sto rekoh, prilicno neuverljivoj

[Milosh]

Jos jedna negativna, ali i prilicno ubedljiva & detaljna kritika Venoma: http://www.aintitcool.com/display.cgi?id=21225

[Kunac]

Emily zgrnula 30 miliona za 3 dana.

[Bilja]

Tacno, u istinitom dogadjaju (tj ako i to nije izmisljeno ili nakiceno), bila je neka prilicno brojna nemacka katolicka porodica, u kojoj je pre 15-tak godina, jedna od kcerki (valjda se zvala Anna) bila "posednuta", a zapravo je verovatno bila sizofrenicna. Naposletku, na kraju sveg tog uzasnog mucenja kojem je sama sebe podvrgla na ocigled familije koja nista nije poduzela da joj pomogne (osim sto su doveli popa "isterivaca") ona je umrla, OD GLADI i iznurenosti.
Bila je psihicki bolesna devojka, a umrla je zbog glupih zadrtih idiota. Elem, mogu misliti kako ce Ameri to da prikazu u filmu.  

[crippled_avenger]

Za Ghoula i mene jedan film

HellBent
Cast: Dylan Fergus, Bryan Kirdwood, Hank Harris, Andrew Levitas, Matt Phillips, Wren T. Brown, Miguel Caballero, Jazzmun, Nina Landey, Sam Levine, Texas Terri
Directed by: Paul Eteredge-Ouzts
Screenplay by: Paul Eteredge-Ouzts
Distributor: Regent Releasing
Runtime: 85 min
Rating: NR
Year: 2004


hen HellBent's hero, Eddie (Dylan Fergus), a pretty boy with a 1985 hairdo who works a desk job at a West Hollywood police department, is nearly killed by the story's iron-muscled killer, he asks his friend at the station, "Don't let them turn this into a fag bashing." This exchange is loaded, because it not only points to Eddie's fears and insecurities as a gay man but also serves as a calling card for the film, which insists on being treated just like every slasher film before it. But against all odds, or, rather, against all expectations, HellBent is better than most films of its ilk. Though the characters do everything wrong and die in the order you might expect them to, it's not without reason, and the film is distinguished by its set pieces, which aren't just some run-of-the-mill tableaux morts (some of the bloodiest and most convincing decapitation sequences since Argento's Trauma), but frank expressions of frustrated gay identity.

On their way to a Halloween party in West Hollywood, Eddie and his friends are followed by a Tom of Finland type responsible for the deaths of two gay boys the night before. One by one, this anonymous boogeyman picks off Eddie's friends, who share a reasonably complicated camaraderie with one another and whose deaths are not only underscored by a crushing sadness but also evoke a diversity of problems that effect the gay community. The homely Joey (Hank Harris) dies after finally experiencing an inkling of romantic rapture, Chaz (Andrew Levitas) while strung out on Ecstasy and unable to tell if the stab marks on his torso are flights of his drug-addled imagination, and Tobey (Matt Phillips) after showing the killer that beneath his drag couture he's all man. Even if Tobey's predicament doesn't inspire sympathy (it's obvious he wouldn't have a problem getting laid if he had gone out dressed as, say, a fireman), his death still reflects the residual damage the idolatry of masculinity has on the perceived lower ranks of gay culture.

The boys in the film are beautiful, but the film's target audience may be disappointed by just how little skin director Paul Eteredge-Ouzts allows them to show. Which is not to say HellBent starves for eroticism. When the smiley Eddie first lays eyes on the badass Jake (Bryan Kirdwood) inside a tattoo shop, he's seduced by a trail of blood making its way down the biker boy's back. When the tattoo artist stops the blood from making it past the small of Jake's back, Eteredge-Ouzts knocks both Jake and his audience to their senses. The moment is a classic dick-teaser, a term that could apply to the protracted sense of dread that anticipates the film's murders.

Eteredge-Ouzts has a keen visual sense, and not just for attractive men. When Eddie takes the too-cool-for-school Jake back to his apartment and they indulge in some erotic shotgun toking, he frames them elegantly between a poster of Cuba. Though this doesn't say anything particularly profound about Chaz's cultural heritage, it does call attention to the tweaker's absence from the apartment. It's interesting that while Eddie admonishes Chaz earlier for leaving Joey alone in the bathroom at MeatLocker, Eddie does the same to his friends as the story progresses. Eteredge-Ouzts implicates his lead character, if not as a conspirator in the deaths of his friends, then as a hypocrite for abandoning them as soon as the promise of dick becomes more and more of a certainty. HellBent is a gay slasher film with gorgeous bodies on display, but it lets us know that it has a brain as well. Could Eddie's self-obsession, then, be read as a comment on how the gay community is failing itself?

Argento's films are obsessed with motifs of sight and sightlessness, with blind men figuring prominently in The Cat O'Nine Tails and Suspiria. Perhaps taking a cue from the great giallo director, Eteredge-Ouzts has Eddie struggle with a bad eye, using the character's inability to see the world properly as a recurring motif—it's not only a measure of his sexual insecurities and self-obsession but something of a fetish object for the film's killer, who becomes increasingly beside the point as the focus of the story moves toward the difficulty Eddie and Jake have catching each other's wavelengths. As a character, Eddie isn't particularly complex, but his damage is, and the extent of his condition, both physically and emotionally, and what it means to the aloof Jake, interestingly unspools as the film moves along. So, even as the ending reveals itself as a spectacle of hoary bits of backstory and subtext moving to the fore (thank God for that shoebox in the closet and for Jake taking Eddie to target practice!), HellBent is distinguished by it's perverse and unusually intimate obsession with disability. One could say that Eddie and Jake's night proves to be a real emotional eye-opener.

Ed Gonzalez
© slant magazine, 2005.