E sad više nema zajebavanja! Tatko se vratio. Kreće AVATAR

[nemanja]

Kod nas stize i 3D verzija?

[Kunac]

Kod nas stize i 3D verzija?

To je ono što i mene kopka. Naime, ako je premijera u SC - to znači da će film biti prikazan u 2D. jedino Kolosej ima tehničke uslove da prikaže 3D filmove. On nam je poslednja nada. Raspitaću se.

[Tex Murphy]

Da vas utješim - sigurno stiže 3D verzija. Naime, čak i u Banjaluci će da bude prikazan u 3D, pa bi bilo prosto nevjerovatno da se to ne desi u Beogradu.

[Kunac]

Pitao sam i dobio brz odgovor. 3D varijanta Avatara stiže u Srbiju.

[crippled_avenger]

Variety:

Avatar
By TODD MCCARTHY

A 20th Century Fox release presented in association with Dune Entertainment and Ingenious Film Partners. Produced by James Cameron, Jon Landau. Executive producers, Colin Wilson, Laeta Kalogrios. Co-producders, Brooke Breton, Josh McLaglen. Directed, written by James Cameron.

Jake Sully - Sam Worthington
Neytiri - Zoe Saldana
Grace - Sigourney Weaver
Col. Miles Quaritch - Stephen Lang
Trudy Chacon - Michelle Rodriguez
Parker Selfridge - Giovanni Ribisi
Norm Spellman - Joel David Moore
Moat - CCH Pounder
Eytukan - Wes Studi
Tsu'tey - Laz Alonso
Dr. Max Patel - Dileep Rao
Corporal Lyle Wainfleet - Matt Gerald
  The King of the World sets his sights on creating another world entirely in "Avatar," and it's very much a place worth visiting. The most expensive and technically ambitious film ever made, James Cameron's long-gestating epic pitting Earthly despoilers against a forest-dwelling alien race delivers unique spectacle, breathtaking sights, narrative excitement and an overarching anti-imperialist, back-to-nature theme that will play very well around the world, and yet is rather ironic coming from such a technology-driven picture. Twelve years after "Titanic," which still stands as the all-time B.O. champ, Cameron delivers again with a film of universal appeal that just about everyone who ever goes to the movies will need to see.
Cameron reportedly wrote the story, if not the full script, for "Avatar" at least 15 years ago but decided he had to wait until visual effects capabilities advanced sufficiently to credibly render his imagined world and its inhabitants. On this fundamental level, the picture is a triumph; it's all of a piece, in no way looking like a vague mish-mash of live-action, CGI backdrops, animation, performance capture and post-production effects. On top of that, the 3D is agreeably unemphatic, drawing the viewer into the action without calling attention to itself. The third dimension functions as an enhancement, not a raison d'etre, so the film will look perfectly fine without it. (When it opens domestically on Dec. 15, approximately 2100 screens will feature 3D, with another 1200 in 2D.)

Then there's the appearance of the indigenous Na'vi clan. In the wake of the still photographs, trailers and 15-minute appetizer offered up by Fox in recent months, a certain wait-and-see reaction could be felt that raised mild doubts about how physically appealing the protagonists would be. But once they're introduced in the context of the picture, these blue-skinned, yellow-eyed creatures quickly become captivating, even sexy, with their rangy height, slim and elongated bodies and skimpy wardrobe, and the grace and dexterity with which they move.

A few more lines of exposition might have helped explain why, in the year 2154 (according to the press notes), Earthlings, represented exclusively, for some reason, by the United States armed forces, need to travel light years away to Pandora to mine a precious mineral that will help rescue the planet from ecological disaster. (Does the U.S. now rule the world? Or is this nation, exclusively, concerned about the environment? Is it the only country left? Or is it simply the best villain for global consumption?)

After the death of his identical-twin scientist brother, wheelchair-bound former Marine Jake Sully (Sam Worthington) takes his place to become an Avatar, a hybrid being that combines human DNA with that of the Na'vi; achieving the Avatar status occurs under lab conditions, with the subject experiencing his or her alternate state as if in a dream. The official hope is that negotiations can help persuade the natives to move aside and allow further exploitation of their land, although hawkish mission commander Col. Miles Quaritch (Stephen Lang) enlists the gung ho Jake's help as his personal military spy.

Early glimpses of the intergalactic spaceship, weightless crew members and Avatars floating in liquid-filled cylinders are mere teasers for the wonders awaiting on Pandora itself. Unlike most sci-fi and action films, which seem compelled by formula to kick off with a slam-bang opening and then punctuate things with more mayhem every 20 minutes or so, "Avatar" more gently escorts the viewer into its new world while utilizing a classical three-act structure.

Unavoidable Vietnam vibes emanate from the scenes of futuristic choppers descending upon the verdant jungles and mountainsides of Pandora, a land filled with exotic insects, giant airborne reptiles and birds, dinosaur-like beasts and fearsome, dog-like attack animals. Separated from his scientific companion and fellow Avatar Grace (Sigourney Weaver) and stranded at night, Jake is rescued from becoming a midnight snack by Na'vi warrior Neytiri (Zoe Saldana), who subsequently shows the interloper around and very gradually warms to him as he demonstrates an aptitude for native ways.

Cameron's extensive experience on deep-water ocean dives, which resulted in a couple of Imax 3D documentaries, no doubt influenced the glowing, luminous nature of some of the plant life and floating seeds that waft through the environment's atmosphere, while the grander landscapes offer staggering vistas of places that are perhaps most reminiscent of South America, just as the Na'vi most strongly call to mind the natives of the Americas in their customs and tribal manners. For their language, which is extensively spoken with subtitled translation, Cameron had a professor, Paul Frommer, invent a tongue of more than 1,000 words from scratch, although Neytiri, among others, has previously learned pretty good English from Grace.

Although the young Na'vi males resent him, Jake learns quickly and earns his stripes by successfully piloting a giant flying banshee. After three months, however, just as the colonel is ready to send his young charge back home, Jake crosses over and, inspired by his intimacy with Neytiri, goes native. It's "A Man Called Horse" all over again, with Jake, believing he can help the clan repel the invaders, taking up the role of a resistance leader against overwhelming odds.

Final stretch is devoted to the ferocious battle between the Earthly maurauders, with their huge airborne battleships and mighty arsenal, and the nearly naked home team, armed mostly with bows and arrows. Despite the latter fighting on friendly terrain, the mismatch is just too great, and the way things pan out strikes the one somewhat discordant dramatic note in the picture, resulting in a bit of final-reel deflation; surely, a more complex but believable climax and aftermath could have been found.

Thematically, the film also plays too simplistically into stereotypical evil-white-empire/virtuous-native cliches, especially since the invaders are presumably on an environmental rescue mission on behalf of the entire world, not just the U.S. Script is rooted very much in a contemporary eco-green mindset, which makes its positions and the sympathies it encourages entirely predictable and unchallenging.

On an experiential level, however, "Avatar" is all-enveloping and transporting, with Cameron & Co.'s years of R&D paying off with a film that, as his work has done before, raises the technical bar and throws down a challenge for the many other filmmakers toiling in the sci-fi/fantasy realm. The lead team from Weta in New Zealand as well as the numerous other visual-effects and animation firms involved have done marvelous and exacting work, a compliment that extends to every other craft and technical contribution on view.

Playing a grunt in a crewcut before his transformation, Worthington is tough, gruff and assertive as the genetic pioneer turned insurrectionist, while Saldana proves her mettle as yet another kickass Cameron heroine. Lang, already seen to great advantage this year in "Public Enemies," is a relentless militarist par excellence, while Weaver, looking great wearing a Stanford T-shirt, no doubt a personal touch by the alum, is wonderfully authoritative as a scientist so unimpeachable that she can get away with smoking on board an intergalactic spaceship.

Camera (Deluxe color, widescreen, HD, 3D), Mauro Fiore; editors, Stephen Rivkin, John Refoua, Cameron; music, James Horner; production designer, Rick Carter, Robert Stromberg; supervising virtual art director, Yuri Bartoli; lead supervising art director, Kim Sinclair; supervising art directors, Kevin Ishioka, Stefan Dechant, Todd Cherniawsky; virtual production art directors, Andrew L. Jones, Norm Newberry; art directors, Nick Bassett, Rob Bavin, Simon Bright, Jill Cormack, Sean Haworth, Andrew Menzies, Andy McLaren; costume designers, Mayes C. Rubeo, Deborah L. Scott; sound (Dolby/DTS), Jim Tanenbaum, William B. Kaplan; supervising sound editor/sound designer, Christopher Boyes; re-recording mixers, Boyes, Gary Summers, Andy Nelson; senior visual effects supervisor, Joe Letteri; Weta visual effects supervisors, Stephen Rosenbau, Eric Saindon, Dan Lemmon, Guy Williams; ILM visual effects supervisor, John Knoll; visual effects and animation, Weta Digital, Industrial Light & Magic, Prime Focux; visual effects, Framestore, Hybride, Hydraulx, BUF; animation supervisors, Richard Baneham, Andrew R. Jones; ILM animation supervisor, Paul Kavanagh; visual effects supervisors, John Bruno, Steven Quale; performance capture technology and production services, Giant Studios; conceptual design, costume and specialty props, Richard Taylor; Stan Winston character design supervisor, John Rosengrant; lead creature designer, Neville Page; vehicle designer, Tyruben Ellingson; initial creature concepts, Wayne Barlowe; Na'vi language created by Paul Frommer; stunt coordinators, Garrett Warren (U.S.), Stu Thorpe, Allan Poppleton (New Zealand); associate producer, Janace Tashjian; assistant director, Josh McLaglen; L.A. unit camera, Vince Pace; casting, Margery Simkin; initial casting, Mali Finn. Reviewed at 20th Century Fox Studios, Los Angeles, Dec. 10, 2009. MPAA Rating: PG-13. Running time: 163 MIN.

[crippled_avenger]

Avatar -- Film Review
By Kirk Honeycutt, December 10, 2009 06:38 ET
"Avatar"  Rate This Film
Cast and CrewProducer: James Cameron
Producer: Jon Landau
Director: James Cameron
Screen Writer: James Cameron
Prod. Designer: Rick Carter
Visual Effects Supervisor: Brooke Breton
Cast: Sam Worthington (Actor), Zoe Saldana (Actor), Sigourney Weaver (Actor), Joel Moore (Actor), C.C.H. Pounder (Actor), Peter Mensah (Actor), Laz Alonso (Actor), Wes Studi (Actor), Giovanni Ribisi (Actor), Matt Gerald (Actor), Dileep Rao (Actor)
Bottom Line: A titanic entertainment -- movie magic is back!
A dozen years later, James Cameron has proven his point: He is king of the world.

As commander-in-chief of an army of visual-effects technicians, creature designers, motion-capture mavens, stunt performers, dancers, actors and music and sound magicians, he brings science-fiction movies into the 21st century with the jaw-dropping wonder that is "Avatar." And he did it almost from scratch.

There is no underlying novel or myth to generate his story. He certainly draws deeply on Westerns, going back to "The Vanishing American" and, in particular, "Dances With Wolves." And the American tragedy in Vietnam informs much of his story. But then all great stories build on the past ( "Avatar" premiered Thursday in London).

After writing this story many years ago, he discovered that the technology he needed to make it happen did not exist. So, he went out and created it in collaboration with the best effects minds in the business. This is motion capture brought to a new high where every detail of the actors' performances gets preserved in the final CG character as they appear on the screen. Yes, those eyes are no longer dead holes but big and expressive, almost dominating the wide and long alien faces.

The movie is 161 minutes and flies by in a rush. Repeat business? You bet. "Titanic"-level business? That level may never be reached again, but Fox will see more than enough grosses worldwide to cover its bet on Cameron.

But let's cut to the chase: A fully believable, flesh-and-blood (albeit not human flesh and blood) romance is the beating heart of "Avatar." Cameron has never made a movie just to show off visual pyrotechnics: Every bit of technology in "Avatar" serves the greater purpose of a deeply felt love story (watch the trailer here).

The story takes place in 2154, three decades after a multinational corporation has established a mining colony on Pandora, a planet light years from Earth. A toxic environment and hostile natives -- one corporate apparatchik calls the locals "blue monkeys" -- forces the conglom to engage with Pandora by proxy. Humans dwell in oxygen-drenched cocoons but move out into mines or to confront the planet's hostile creatures in hugely fortified armor and robotics or -- as avatars.

The protagonist, Jake Sully (Sam Worthington), is a crippled former Marine who takes his late twin brother's place in the avatar program, a sort of bone thrown to the scientific community by the corporation in hopes that the study of Pandora and its population might create a more peaceful planet.

Without any training, Jake suddenly must learn how to link his consciousness to an avatar, a remotely controlled biological body that mixes human DNA with that of the native population, the Na'vi. Since he is incautious and overly curious, he immediately rushes into the fresh air -- to a native -- to throw open Pandora's many boxes.

What a glory Cameron has created for Jake to romp in, all in a crisp 3D realism. It's every fairy tale about flying dragons, magic plants, weirdly hypnotic creepy-crawlies and feral dogs rolled up into a rain forest with a highly advanced spiritual design. It seems -- although the scientists led by Sigourney Weaver's top doc have barely scratched the surface -- a flow of energy ripples through the roots of trees and the spores of the plants, which the Na'vi know how to tap into.

The center of life is a holy tree where tribal memories and the wisdom of their ancestors is theirs for the asking. This is what the humans want to strip mine.

Jake manages to get taken in by one tribe where a powerful, Amazonian named Neytiri (Zoe Saldana) takes him under her wing to teach him how to live in the forest, speak the language and honor the traditions of nature. Yes, they fall in love but Cameron has never been a sentimentalist: He makes it tough on his love birds.

They must overcome obstacles and learn each other's heart. The Na'vi have a saying, "I see you," which goes beyond the visual. It means I see into you and know your heart.

In his months with the Na'vi, Jake experiences their life as the "true world" and that inside his crippled body locked in a coffin-like transponding device, where he can control his avatar, is as the "dream." The switch to the other side is gradual for his body remains with the human colony while his consciousness is sometimes elsewhere.

He provides solid intelligence about the Na'vi defensive capabilities to Col. Miles Quaritch (Stephen Lang), the ramrod head of security for the mining consortium and the movie's villain. But as Jake comes to see things through Neytiri's eyes, he hopes to establish enough trust between the humans and the natives to negotiate a peace. But the corporation wants the land the Na'vi occupy for its valuable raw material so the Colonel sees no purpose in this.

The battle for Pandora occupies much of the final third of the film. The planet's animal life -- the creatures of the ground and air -- give battle along with the Na'vi, but they come up against projectiles, bombs and armor that seemingly will be their ruin.


   
As with everything in "Avatar," Cameron has coolly thought things through. With every visual tool he can muster, he takes viewers through the battle like a master tactician, demonstrating how every turn in the fight, every valiant death or cowardly act, changes its course. The screen is alive with more action and the soundtrack pops with more robust music than any dozen sci-fi shoot-'em-ups you care to mention (watch the "Avatar" video game trailer here).

In years of development and four years of production no detail in the pic is unimportant. Cameron's collaborators excel beginning with the actors. Whether in human shape or as natives, they all bring terrific vitality to their roles.

Mauro Fiore's cinematography is dazzling as it melts all the visual elements into a science-fiction whole. You believe in Pandora. Rick Carter and Robert Stromberg's design brings Cameron's screenplay to life with disarming ease.

James Horner's score never intrudes but subtlety eggs the action on while the editing attributed to Cameron, Stephen Rivkin and John Refoua maintains a breathless pace that exhilarates rather than fatigues. Not a minute is wasted; there is no down time.

The only question is: How will Cameron ever top this?

Opens: Dec. 18 (20th Century Fox)
Production companies: 20th Century Fox in association with Dune Entertainment and Ingenious Film Partners
Cast: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Michelle Rodriguez, Giovanni Ribisi, Joel David Moore, CCH Pounder, Wes Studi, Laz Alonso
Director/screenwriter: James Cameron
Producers: James Cameron. Jon Landau
Executive producers: Colin Wilson, Laeta Kalogridis
Director of photography: Mauro Fiore
Production designers: Rick Carter, Robert Stromberg
Music: James Horner
Senior visual effects supervisor: Joe Letteri
Costume designers: Mayes C. Rubeo, Deborah L. Scott
Editors: Stephen Rivkin, John Refoua, James Cameron
Rated PG-13, 161 minutes

[crippled_avenger]

Avatar
11 December, 2009 | By Mike Goodridge


Dir/scr: James Cameron. US. 2009. 161 mins.


12 years after Titanic, James Cameron delivers his latest blockbuster and once again takes cinema to a new level of remarkable spectacle. An epic film born entirely of Cameron's imagination, Avatar uses tailor-made technology to create the most astonishing visual effects yet seen on screen and blends them seamlessly into a mythical sci-fi story about an ancient alien civilisation fighting the encroaching human menace. It's an unprecedented marriage of technology and storytelling which is on the whole remarkably successful.

Cameron's legendary attention to detail is of course in evidence
Although Fox and Cameron showcased 20 minutes of footage earlier this year, audiences will still be astonished by the gigantic sci-fi tapestry that the film-maker has woven here in crisp and striking 3D images. Avatar should see large figures on opening December 18, but business will also be sustained over subsequent weeks as word of mouth spreads.

Could it hit Titanic numbers? Probably not, as Avatar is more of a boy's own adventure, lacking the DiCaprio factor which so obsessed teenage girls back in 1998. It does have its own zeitgeist feel, however, with the visual wow factor augmented by its resonant contemporary themes (environmental destruction, war and corporate corruption) in the context of a sci-fi adventure story. And if that's not enough, it features a love affair between two blue-skinned aliens which is surprisingly romantic and affecting.

Fox has a lot riding on the film which it says cost $237m to produce and $150m to release. It should recoup that, and unlike Titanic, where it brought in Paramount to co-finance, Fox has no distribution pot to share, although the studio has financial partners in Dune Capital Management and Ingenious Film Partners. International revenues should dwarf domestic, as happened on Titanic, and, in acknowledgment of the film's global prospects, the world premiere took place in London on Dec 10.

Avatar will also benefit from higher priced tickets at 3D theatres and IMAX screens, not to mention the added boost it could get from awards recognition.

The story is an amalgam of numerous well-worn genres and inspirations – the western, the Pocahantas story, The Last Of The Mohicans, Cameron's own The Abyss, Star Wars, Dances With Wolves and more. Cameron's characterisations and dialogue are often crude and cliched, as Titanic demonstrated, although Avatar's hackneyed dialogue feels more appropriate to the adventure genre he is tackling.

Taking place in 2154, the film follows a wheelchair-bound US marine called Jake Scully (Worthington) who wakes up from six years of cryogenic sleep on the distant planet of Pandora, where a large corporation is mining a powerful mineral that could help solve the earth's energy crisis.

He has been recruited as a "driver", a human whose consciousness is linked to an avatar. This remotely controlled biological body is a genetically engineered hybrid of human DNA and DNA from the Pandora natives, 10-foot-tall blue humanoid creatures called Na'vi.

Jake is charged with infiltrating the Na'vi and learning their ways in order to persuade them to cooperate with the mining operation. This happens sooner than he expected when his life is saved by a Na'vi female called Neytiri (Saldana), and he is taken in by her clan. But he soon learns to love the culture and values of the Na'vi, who have a magical connection to the forest they live in. As the human forces start to move in and seize the minerals, Jake finds himself torn between two bodies and two loyalties.

The motion capture technique which Cameron pioneered with Weta Digital is extraordinary, and the expressiveness of the Na'vi, as based on full body performances by Worthington, Saldana, Weaver and others, is immensely engaging. The technique moves film leaps and bounds beyond Gollum, King Kong or anything from the Robert Zemeckis canon with the result that Avatar's digital characters are as compelling as any humans. Most of the Pandora sections are fully animated, yet it is frankly impossible to tell exactly what is and what isn't while watching.

Cameron's legendary attention to detail is of course in evidence, not just in the alien language designed for the film but in some of the frames so overstuffed with creatures, insects, colours and painterly compositions that they cannot be adequately appreciated on one viewing. Fox will be hoping, that, like Titanic, one visit to Avatar will not be enough for millions of cinemagoers around the world.

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Production companies

Lightstorm Entertainment

Ingenious Film Partners

Worldwide distribution

20th Century Fox/Fox International

Producer

Jon Landau

Cinematography

Mauro Fiore

Production designers

Rick Carter

Robert Stromberg

Editors

James Cameron

John Refoua

Steven Rivkin

Music

James Horner

Main cast

Sam Worthington

Zoe Saldana

Sigourney Weaver

Stephen Lang

Michelle Rodriguez

Giovanni Ribisi

Joel David Moore

CCH Pounder

Wes Studi

[mrkoye]

čak se i rts oglasio povodom avatara:

Повратак филмске магије

Дуго очекивани сај-фај спектакл Џејмса Камерона је на самом старту добио одличне критике, уз оцену да је ,,краљ света" вратио филмску магију у биоскопе. ,,Аватар" је већ стављен на списак филмова који ће бити разматрани приликом номинација за Оскара за специјалне ефекте.

Џејмс Камерон је, дуго пре премијере ,,Аватара", најављивао да ће отићи корак даље у употреби специјалних ефеката и поставити нове стандарде у снимању научно-фантастичних филмова.

Само два дана после претпремијере у Лондону, Америчка филмска академија је потврдила оно што су сви очекивали - ,,Аватар" је стављен на списак 15 филмова који ће бити узети у обзир за номинације за Оскара у категорији специјалних ефеката.

Нико не сумња да ће 7. марта, на додели Оскара, Камерон и његов филм имати запажене улоге и то не само када је о наградама за специјалне ефекте реч.

Критике ,,Аватара", који је у четвртак претпремијерно приказан у Лондону, званично није требало да буду објављене до понедељка, али су неки медији прекршили тај договор и похвалили ,,неодољиви спектал", а Камерона прогласили ,,краљем света".

,,'Аватар' је неодољив спектакл који одушевљава", пише ,,Тајмс", који је филму дао четири од могућих пет звездица.

,,Тродимензионална технологија је одлична, али је оно што фасцинира велика необичност тог новог измишљеног, тропског и дречећег света", пише лист.

И ,,Гардијан" је 3Д технологију у филму назвао ,,одличном", а специјалне ефекте ,,изузетним".

Новинари који су гледали филм ,,тврде да Камеронова суперпродукција иде ,,корак даље од свега што су до сада видели", пише лондонски дневник.

,,То је филм о којем ће људи за неколико година говорити да је изменио кинематографију", пише високотиражни ,,Сан".

,,Једини разлог због којег 'Аватар' неће надмашити 'Титаник' у биоскопима је то што у свету нема довољно нумеричких екрана на којима може да се приказује у свој својој раскоши 3Д технике", наводи лист.

Једнако одушевљење филмом влада и на другој страни Атлантика - ,,Холивуд репортер" је филм назвао ,,огромним спектаклом".

,,Филмска магија се вратила! Дванаест година после ('Титаника'), Џејмс Камерон показује да је био у праву: он је краљ света", наводи холивудски дневник.

Радња ,,Аватара" смештена је у будућност, у време када људски род истражује удаљене планете, користећи вештачка тела реалистичног изгледа, названа ,,аватари".

Међутим, аватари улазе у конфликт са ванземаљцима, по узору на које су направљени (Нави), а који насељавају егзотични свет Пандору.

Ванземаљци су високи око три метра, плаве боје, изгледају привлачно и представљају спој покрета глумаца и дигитализованих слика.

,,Аватар" користи нову технику која спаја снимљене и синтетичке слике, што је омогућило Камерону да у реалном времену мења заступљеност та два елемента у различитом односу.

Главну улогу у филму тумачи Сем Вордингтон, Аустралијанац који се прославио последњим наставком ,,Терминатора", а у још једном спектаклу у најави, ,,Борба титана", тумачи лик Персеја.

Поред њега, глуме и Сигурни Вивер, Зои Салдана и Стивен Ланг.

,,Аватар" у европске биоскопе стиже 16. децембра, када је премијера и у Србији, а у северноамеричке два дана касније.

Његови творци надају се да ће поновити успех ,,Титаника", филма награђеног са 11 Оскара који је зарадио 1,8 милијарди долара, што је рекорд за неки филм у светским биоскопима.

http://rts.rs/page/magazine/ci/story/401/%D0%A4%D0%B8%D0%BB%D0%BC/364221/%D0%9F%D0%BE%D0%B2%D1%80%D0%B0%D1%82%D0%B0%D0%BA+%D1%84%D0%B8%D0%BB%D0%BC%D1%81%D0%BA%D0%B5+%D0%BC%D0%B0%D0%B3%D0%B8%D1%98%D0%B5.html

[Tex Murphy]

Wow! Čovjek zaista mora biti impresioniran ovim silnim pohvalama za scenario, režiju, glumu,... [/sarkazam]

[Lord Kufer]

Još bolji od Titanika! WOW!!!!

[crippled_avenger]

Od svih koji su gledali na internim projekcijama čujem samo ekstatične pohvale. Doduše, svi su Cameronovi fanovi...

[Alex]

Od najvećeg reditelja svih vremena logično je očekivati samo najbolje filmove ikada.

[Tex Murphy]

Od najvećeg reditelja svih vremena logično je očekivati samo najbolje filmove ikada.

Da, ali ovo je topik o filmu Džejmsa Kamerona.

[Alex]

Ahhh, mi fanovi ćemo zavaljeni u fotelju u prazničnim zimskim noćima pijuckati šampanjac, dok nas mediji budu izveštavali o milijardama koje zarađuje Avatar, o maksimalnim ocenama koje dobija u recenzijama i o desetinama oskara koje će dobiti.

Dok će neki crkavati od muke i iskaljivati bes na svom hrčku uskraćujući mu redovne obroke.

[Джон Рейнольдс]

Avatar će biti ljigavština i u 2D i u 3D i u 6D (ako postoji i takva verzija, a nema razloga da ne postoji), zaradio milijarde ili desetine hiljada bilo čega.

Jedva čekam da ljudi počnu da izlaze sa projekcija sa glavoboljom od višečasovne patetike.

[Alex]

Ako je patetičan, znači da je strastan, osećajan; dirljiv; ganutljiv, uzbudljiv, potresan; koji izaziva uzvišena osećanja, uzvišen; snažan i dostojanstven.

Patetično, može biti negativna stvar samo za ljubitelje alternativnog rocka i ljubitelje horora - a oni da znaju za bolje ne bi bili to što jesu.

[Lord Kufer]

Jedva čekam kaće Vojo i Kusto da ga sarane tamo u Ksilopolisu...

[Джон Рейнольдс]

Patetično, može biti negativna stvar samo za ljubitelje alternativnog rocka i ljubitelje horora - a oni da znaju za bolje ne bi bili to što jesu.

Hvala bogovima, tako jeste, tako će i ostati.

[crippled_avenger]

Juče sam pričao sa jednim od prvosveštenika kameronizma kod nas, njegovim najstarijim fanom, koji je imao priliku da vidi film i kaže da je fenomenalan a da je Sam W. novi Michael Biehn!

[Ghoul]

...s tim što je meni, recimo, taj Michael Biehn oduvek bio jedno mrtvo puvalo za koje nikako nisam shvatao šta taj kameron vidi u njemu, jer njegovi su filmovi bili bolji uprkos binu u njima, a ne zbog njega.

[crippled_avenger]

Pa meni je Biehn bio dobar u nekim filmovima i izvan cameronovog opusa, ali generalno svakako da nije bio glumac koji može sam za sebe da funkcioniše. On nije zvezda tog formata ali u pravom kontekstu jeste jako dobar.

[Lord Kufer]

U Terminatoru je dobro legao, kad treba da odigra izbezumljenost. Ali za drugo, izgleda da se nije dokazao.

[crippled_avenger]

Kao predigru za AVATAR predlažem gledanje epizoda serije ENTOURAGE u kojima se govori o Cameronovom filmu AQUAMAN.

[Tex Murphy]

Zar nije bolje da jednostavno pogledamo Titanik?

[Ghoul]

ja sam u sklopu priprema za tatka repriziro ABYSS, koji bih opisao kao 3/5 odličnog filma, 1/5 dobrog filma i 1/5 besramno imbecilne bljuzge.
govorim, dakako, o director's cut verziji.

takođe sam pogledao Ghosts of the Abyss (doc), koji je svakako bolji i pošteniji film od TITANIKA.

[Tex Murphy]

ja sam u sklopu priprema za tatka repriziro ABYSS, koji bih opisao kao 3/5 odličnog filma, 1/5 dobrog filma i 1/5 besramno imbecilne bljuzge.
govorim, dakako, o director's cut verziji.

Davno sam gledao, ali njušim da bi ondašnji ja ovo potpisao. Koja bi to ocjena bila po tvojoj tarifi?

[Ghoul]

zaista je teško numerički opisati odličan film koji se tako blatantno posere po samom sebi u zadnjih pola sata.

zbog onog dobrog što je tome prethodilo, negde oko 3+/4-

[crippled_avenger]

Ja sam bukvalno na ivici samoubistva. Kao što je poznato ne izlazim iz kuće kad je sneg, a sad je sneg. Sad kad je AVATAR. Poludeću...

[Milosh]

zbog onog dobrog što je tome prethodilo, negde oko 3+/4-

To je ocena za director's cut? Koju ocenu bi dao bioskopskoj verziji?

[Ghoul]

mislim da sam oba puta gledo full, u svakom slučaju, sad na reprizu sam gledo dir. cut i jedino prema njemu imam stav.

[Kunac]

Ja sam bukvalno na ivici samoubistva. Kao što je poznato ne izlazim iz kuće kad je sneg, a sad je sneg. Sad kad je AVATAR. Poludeću...

Dilema dostojna Šekspira, nema šta.

[Milosh]

Očekivao sam mnogo više. Vizuelno je film spektakularan (i to u 2D verziji), dok je scenario blago rečeno problematičan tj. priča je prilično tanka, prozaična i infantilna, dijalozi su loši, naracija je trapava i para uši, a najgore od svega, film je prilično dramaturški ravan i predvidiv. Stephen Lang je napravio fenomenalnu epizodu i izvukao najbolje iz Cameronovog crno-belog sveta kad je reč o likovima, a trenutak (spoiler) na kraju kad uđe u egzoskelet i krene u jedan na jedan obračun, jedan je od najboljih momenata i dobra inverzija završetka Aliensa (ovde je čovek taj koji je monstrum a ne vanzemaljac). U suštini, ovo je jedna staromodna avantura, začinjena sa malo ne previše ubedljive melodrame, upakovana (vrhunski!) u SF ruho, dok je u sve zamuljano malo new age mistike koja deluje naivno i nedomišljeno. Ko je očekivao thinking man's SF neka pogleda ponovo District 9, pošto ovo NIJE takav film. Efekti su sjajni, i tu nema mesta kritici, baš kao i dizajn čitavog sveta, stvorenja, biljki, letilica, oružja i sl. i prava je šteta što Cameron nije napisao bolji scenario koji bi poslužio kao kičma za vizuelnu feštu. Ovo je 3+ i to uz mnogo dobre volje, i mada ću ga svakako pogledati i u 3D nisam previše nestrpljiv da ga repriziram. Šteta.

[Lord Kufer]

Već iz trejlera se vidi da je film ideološki "prljav"...

[crippled_avenger]

Mislim da je preteerano reći za DISTRICT 9 da je thinking man's film osim ako taj koji želi da misli uz taj film nije ometen u razvoju. Ja inače volim DISTRICT 9 ali ne smatram da mu je lepota unutrašnja

Nažalost, bio sam sprečen da prisustvujem današnjem misteriju, ali sve što čujem o filmu me ohrabruje, čak i negativni komentari. Najbitnije mi je to što još uvek niko nije rekao da je film dosadan.

Druga lepa stvar je što čujem da su ovi vanzemaljci u stvari u poziciji Srba na Kosovu i ne daju Amerikancima da im ruše svetinje. Ameriko, platićeš ti svoje, zbog Kosova i Pandore moje.

[Kunac]

AVATAR je vizuelno fascinantan. U to nema sumnje. Odlazak u bioskop je a must, ovo je film koji se gleda na velikom platnu - i to po mogucstvu u 3D. Pune oci. Tatko se zaista vratio na velika vrata i to sa stilom.

E sada, da razmak izmedju ovog filma i prethodnog nije bio toliki koliki je, ja se ne bih mnogo zalio. Kako jeste, ostaje fakat (Milosh je to lepo primetio) da scenario nije bas inovatorski. Zaplet ne moze da se meri sa spektakularnosti i
vizuelnog dela. Ne kazem da je prica katastrofa, ali ocekivao sam vise od film ovog kalibra. Puno je pozajmica i opstih mesta, to ume da ugusi verziranijeg gledaoca (klinci ce, s druge strane, biti odusevljeni).

U svakom slucaju - veoma se radujem sto cu za vikend AVATARA pogledati i u 3D. A vec i to nesto govori.

[Ghoul]

što prljav?
dobri zeleni vegani protiv zlih korporacija i mašina...

[Milosh]

Mislim da je preteerano reći za DISTRICT 9 da je thinking man's film...

U odnosu na Avatar svakako jeste...

Kad već pominješ, meni film jeste bio na momente dosadan, ali nisam to isprva pomenuo pošto sam se više koncentrisao na one objektivnije probleme, ali nije to drastično, već je više stvar u tome da ovde realno ne postoji dovoljno priče za 150 minuta filma, pa lako sve sklizne u lepu razlednicu, ali zato u trenucima kad nešto krene da se dešava (posebno u drugoj polovini) to ni najmanje nije dosadno.

[Milosh]

Puno je pozajmica i opstih mesta, to ume da ugusi verziranijeg gledaoca (klinci ce, s druge strane, biti odusevljeni).

I meni se čini da bih odlepio na film da imam duplo manje godina, kad sam bio klinac omiljeni SF film (i jedan od glavnih razloga što sam se zainteresovao za žanr) mi je bila Linčova Dina...

[Milosh]

dobri zeleni vegani protiv zlih korporacija i mašina...

Plavi su...

[Ghoul]

smešan je svako ko očekuje 'inovatorski' scenario od nečega što je koštalo bar 320 MILIONA dolara (a verovatno mnogo više).

kad su tolike pare u igri - a slučaj TITANIKA je to već pokazao - onda naravno da će da se ide na klišee i bljuzgu.

što reče dimbo, samo da ne bude dosadno, a sve ostalo je plus.

[Tex Murphy]

Dobro, prva dva komentara (Milosha i Kunca) očigledno pokazuju da sam ocjenu kvaliteta filma ispravno ekstrapolirao na osnovu trejlera. Prekosutra gledam u 3D, jedva čekam! Njam njam!

[Milosh]

smešan je svako ko očekuje 'inovatorski' scenario od nečega što je koštalo bar 320 MILIONA dolara (a verovatno mnogo više).

kad su tolike pare u igri - a slučaj TITANIKA je to već pokazao - onda naravno da će da se ide na klišee i bljuzgu.

U većini slučajeva to jeste tako, ali kad je reč o Cameronu ne bih se složio i mislim da on sve radi zato što misli da to tako treba, uključujući i klišee; slično kao i Spielberg, s tim što je Cameron do sada dobro balansirao melodramu. Ukratko, mislim da u ovom slučaju nije bilo nikakvih kompromisa i da je on snimio tačno onakav film kao što je i želeo. E sad, što se godinama bavio samo tehnikom, a kao pisac ne da nije napredovao nego je i regresirao, to je već posebna priča...

[Tex Murphy]

Inače, pitam se dokle li će ovim svijetom da vlada taj odurni Star Trek sindrom da se "vanzemaljci" dobijaju tako što se ljudima zašilje uši i/ili iscrta nekoliko ukrasa na faci. Ne mogu da vjerujem da taj blentavi Kameron, koji još od Titanika kenja kako oće da snimi ovaj film samo "tehnologija nije dovoljno uznapredovala", nije za vanzemaljce mogo da smisli ništa pametnije od vilenjaka ofarbanih u plavo. Izem ti njegovu "maštu". Kladim se u košulju da bi sa ovolikim parama Don Bluth snimio tristo pedeset miliona puta bolji film.

[Lord Kufer]

što prljav?
dobri zeleni vegani protiv zlih korporacija i mašina...

Ili - obratno 

[Milosh]

mislim da sam oba puta gledo full, u svakom slučaju, sad na reprizu sam gledo dir. cut i jedino prema njemu imam stav.

Koliko se sećam, mada sam bioskopsku verziju odavno gledao, ta kraća verzija je zapravo bolja nego director's cut (što važi i za ostale Cameronove filmove), nema talasa i poruke koja se čekićem ukucava u glavu.

[Tex Murphy]

smešan je svako ko očekuje 'inovatorski' scenario od nečega što je koštalo bar 320 MILIONA dolara (a verovatno mnogo više).

kad su tolike pare u igri - a slučaj TITANIKA je to već pokazao - onda naravno da će da se ide na klišee i bljuzgu.

U većini slučajeva to jeste tako, ali kad je reč o Cameronu ne bih se složio i mislim da on sve radi zato što misli da to tako treba, uključujući i klišee; slično kao i Spielberg, s tim što je Cameron do sada dobro balansirao melodramu. Ukratko, mislim da u ovom slučaju nije bilo nikakvih kompromisa i da je on snimio tačno onakav film kao što je i želeo. E sad, što se godinama bavio samo tehnikom, a kao pisac ne da nije napredovao nego je i regresirao, to je već posebna priča...

Mislim da on nikad nije bio pretjerano krvavo dobar pisac, ali uspio je da napiše jedan stvarno izvanredan scenario koji, gle ironije, nije režirao, a poslije toga je sve i konačno otišlo u materinu.

[Tex Murphy]

mislim da sam oba puta gledo full, u svakom slučaju, sad na reprizu sam gledo dir. cut i jedino prema njemu imam stav.

Koliko se sećam, mada sam bioskopsku verziju odavno gledao, ta kraća verzija je zapravo bolja nego director's cut (što važi i za ostale Cameronove filmove), nema talasa i poruke koja se čekićem ukucava u glavu.

Više se i ne sjećam koja je "poruka" filma bila, ali taj talas je bio spektakularan i šteta je bilo izbaciti ga iz filma. Meni se čini da su obje verzije bile pune baljezganja, a da je director's cut bogatiji za taj talas i možda još ponešto. Mada, moguće da griješim, sve sam to davno gledao.

[Ghoul]

nije za vanzemaljce mogo da smisli ništa pametnije od vilenjaka ofarbanih u plavo. Izem ti njegovu "maštu".

pa jeste. tako je.
samo još ako i ta planeta ispadne ko neka malo našminkana 'srednja zemlja', i eto nama kiča...

[Lord Kufer]

Radnja ovog filma se upravo odvija uživo u džunglama Perua, gde zle korporacije uz pomoć lokalne vojske tamane domoroce koji ne žele da dozvole eksploataciju. Ovo "uživo" čitaj - "umrtvo". Pa sad, nek se deca zamajavaju šarenom lažom, dok se posao ne završi. Baš me zanima za koga navijaju deca? Zna li neko od ovih koji su gledali film u bioskopu?

[Milosh]

Inače, pitam se dokle li će ovim svijetom da vlada taj odurni Star Trek sindrom da se "vanzemaljci" dobijaju tako što se ljudima zašilje uši i/ili iscrta nekoliko ukrasa na faci.

Pa, eto ti Odiseja 2001 i crni monolit, i to pre više od četrdeset godina. Problem je što je u tom slučaju malo teže snimiti akcionu scenu, a ako se odlučiš da ne bude antropomorfno, a da ne bude ni apstrakcija, pošto je Kubrick već sve objasnio po tom pitanju, onda na kraju to bude neki dobar sf-horor kao Alien ili Thing ili pak gomila loših sf-horora kao... (upišite sami)