Novi evropski krimi film!

[marduk]

Pih, odgledah ovaj LOFT, iliti što ga neko nazva -jebarnik. Ništa toliko posebno, nadam se da je režiserov predhodni film (Alzheimer case) malkice bolji.

[Ghoul]

Pih, odgledah ovaj LOFT, iliti što ga neko nazva -jebarnik. Ništa toliko posebno, nadam se da je režiserov predhodni film (Alzheimer case) malkice bolji.

alzajmer je ODLIČAN (4+), a loft još ne pogledah...

[Kunac]

pozdravljam novi uzlet evropskog krimi filma...
da li neko ima titlove ya soavijev krimi akcijas UNO BIANCA?

[Shozo Hirono]

to i ja čekam dve godine.

ne verujem da će ga uopšte i biti; mada imam dobar rip sa ria una.

[Kunac]

izgleda da sam u tragu kopiji sa hard coded engleskim titlovima. javljam sta sam uradio.

[Shozo Hirono]

hurray for Kim Rossi Stuart and Fiat Uno Gang!

[shrike]

UNO BIANCA ima na Karagarga.net sa engleskim titlovima.

[Shozo Hirono]

evo ga i na CG verzija od skoro 4 gb.

sa titlovima.

[Kunac]

E, ta.  Ali posto film traje 200 minuta a ima i dodataka to nije puno.

[ginger toxiqo 2 gafotas]

The.Bone.Man.2009.DVDRip.XviD-CiTRiN



http://www.imdb.com/title/tt1181927/

[Kunac]

Skinuo sam soavijev TV krimic, dva dela po sat i po, engleski hc titlovi, milina.

Sto se Lofta tice, danas sam pogledao prvi sat - odustao sam posto su titlovi koje imam funky - radjeni su u nekom programu za automatsko prevodenje. Film odlicno izgleda, ima izuzetnu fotografiju, a enterijeri su kao iz bajke, ali je sasvim rutinski u konceptu - bar je tako u prvoj polovini.

[Kunac]

...Uz to sve vrvi od ruznih ljudi...

[Kunac]

Soavijev TV film UNA BIANCA je na zapremini 4 CD-a (dva puta po 1,4 gb), titlovi su na samom fajlu, pasuju.

Evo kako to izgleda:

[crippled_avenger]

Music Box Films has picked up U.S. rights to Swedish hit thriller "The Girl with the Dragon Tattoo" which has grossed almost $100 million internationally reports Screen Daily.

The $13 million feature, titled "Men Who Hate Women" in its home county and outside western territories, is the first in the "Millennium" trilogy based on Stieg Larsson's international bestsellers.

The story follows a disgraced journalist and a misunderstood rebellious female hacker investigating the 40-year-old disappearance of a industrialist's niece on a remote island. Their investigations uncover religious killings, Nazism, rape, child abuse and murder.

The next two books have already been filmed, the second entitled "The Girl Who Played with Fire" having opened a few weeks ago and has already grossed $16 million in just four European territories. The third, "The Girl Who Kicked the Hornet's Nest", is due for a cinematic release in November in Sweden.

Music Box has slated a North American release in March 2010. If 'Tattoo' proves a success in the US, it's likely the next two films will be picked up and released there throughout next year.

[Kunac]

Poceo sam da citam Lašonov roman, veoma mi se dopada za sada, mada sam još na početku pa je rano da dajem sud...

[ginger toxiqo 2 gafotas]

...LOFT spada u top deset kandidata za titulu razočaranja godine, dok stvari stoje dosta bolje sa italijanskim VISIONS koji ne donosi ništa spektakularno, opterećen je krupnim nelogičnostima važnim za suštinu priče, ali u krajnjem zbiru isporuči prijatan time filler, za koji ja lično žalim što nije  višeusmeren u pravcu giallo nasleđa, a uz manje nerezonskih pokušaja da se ulazi u klinč sa američkim naslovima izvedenim po recepturi Thomasa Harrisa, recimo...ipak, da se pogledati bez ozbiljnijih posledica po dušegrižje i mentalno zdravlje...

[Kunac]

VISIONS je podnosljiv - pod uslovom da volite euro pudding.

[crippled_avenger]

Pogledao sam INJU Barbeta Schroedera, interesantan starački triler kojim Barbet pokazuje da je i dalje relativno vitalan i da može da postigne izvesne rezultate u igranom filmu.

Kad kažem relativno vitalan, pre svega mislim na njegovu sigurnost u pričanju priče, još uvek razvijenu sposobnost da drži film pod kontrolom što se tiče tempa i jasnoće. Ono gde je u ovom konkretnom filmu Barbet nešto slabiji jeste sam filmski deo, odnosno reklo bi se da je izostao neki interesantniji vizuelni koncept koji bi upotpunio ovu pulpy priču.

Kad je reč o referencama koje INJU evocira pre svega je to TENEBRAE Dario Argenta, zatim Olivier Assayasov DEMONLOVER a iz drugog plana sigurno i Ridley Scottov BLACK RAIN. Na TENEBRAE, INJU liči po samim osnovima svog plota, s tim što se Barbet fokusira na priču dok Argentu priča služi kao kostur za igradnju set-pieceova. S druge strane, sa DEONLOVERom deli susret Francuske i Japana na nivo culture clasha i odnosa Oksidentalaca prema pop kulturi, međutim, Assayasov film je mnogo energičniji, živopisniji, opušteniji u odnosu na Aziju čak i onda kad je fetišizuje. Detektivksa priča i stereotipi Japana podsećaju na BLACK RAIN Ridley Scotta koji je međutim imao jasan vizuelni koncept i nadovezivao se na tradiciju 80s policijskog filma. U odnosu, dakle, na ove referentne naslove sa pulpy pričom i fascinacijom Japanom, INJU nema uzbudljiv vizelani koncept i na kraju po konvencionalnosti režije najviše liči na M. BUTTERFLY.

Na svu sreću, konvencionalnost u postupku ne remeti njegovu dinamiku i, ruku na srce, imajući u vidu u kojim je godinama Barbert, nema čega da se stidi.

Problem nastupa sa žanrovskim određenjem pošto je ovakva straight interpretacija jedne tako pulpy priče poslednji put mogla da prođe kod Fritz Langa. Iako Barbet fokus stavlja na priču odnosno zaplet, njihov ton i razrešenje teško da mofgu biti sveži sami za sebe. Štaviše, ne samo da je plot twist očigledan već je i nezadovoljavajući, čak i za one koje nije razmazila Južna Koreja. Iako je ovo film koji ne zavisi od twista, ipak jeste priča koja mora imati sposobnost da manipuliše gledaocem i izaziva neku reakciju a rekao bih da Barbet to radi blago i akademski.

Na svu sreću pulp polaz je kao korov i uprkos svemu drži celu stvar na okupu te INJU paradoskalno najbolji utisak ostavlja upravo zbog onoga što je u njemu najbanalnije i najnaivnije a to je priča o piscu koji u Japanu pokušava da nađe selindžerovsku figuru opasnog krimi-pisca. Niko ne ume bolje da fetišizuje neku profesiju od Francuza, niti da sofisticiranije zapakuje olinjali šund zaplet. Ako tome dodamo da je Barbet reditelj koji je možda Francuz sa najdužim stažom u savremenom Holivudu gde je snimio neke odlične filmove, i što je još važnije, nijedan koji bar u nekom aspektu nije bio nezanimljiv, INJU je vrlo zdrav projekat. Savakako da nije ispunio sve potencijale, no osetile su se i pozitivne strane Barbetove staračke ali ipak znalačke ruke, između ostalog i u tretmanu hit and miss francuskog stara Benoit Magimela i zato INJU stoji kao prijatan old fashioned misterija koja će biti najintereantnija onima koji ne znaju ništa i onima koji znaju sve o krimiću. Ipak, nema veliku budućnost na najvećem tržištu a to je ono u sredini.

* * * / * * * *

[Kunac]

Meni se INJU veoma dopao, pomalo sam zatečen. Nisam očekivao da će biti baš toliko dobar. Crippletova referenca na Argenta stoji. Zapravo, upravo je scenario poput ovog za  INJU nešto što bi i sam Argento mogao da valjano režira pod stare dane. Kada bi samo dobio priliku.

[ginger toxiqo 2 gafotas]

...umerena, tiša pohvala za LARGO WINCHa...stoji zamerka Crippled Avenger-a da filmu manjka žesta i akcije, ali ne može da se poreći da je ovo vrlo verna i precizna adaptacija stripa (uključujući i manjkoavosti izvornika)... glavni glumac  poseduje fizikus, ali mu fali silovitosti u opštem nasrtupu/pristupu, to se da popraviti, posebno ako u  upcoming nastavku bude suočen sa ubedljivijim protivnikom nego što je korporativna klika sa mnogo pipaka (a Tomera ne bih kudio ni čisto solidarnosti radi, on je jedna od retkih hebrew zvezda u nastajanju (izuzetak je, naravno, Hebrew Hammer)... ukratko, vredno i downloada i gledalačkog vremena...

[crippled_avenger]

Pogledao sam LARGO WINCH Jerome Sallea, adaptaciju poznatog stripa koji doduše nisam čitao, tako da u tom smislu nisam merodavan da procenim kakav je u odnosu na strip i da li su možda neki od nedostataka filma zapravo proistekli iz stripa i sl.

Ono što je osnovni problem LARGO WINCHa kao filma je to što je cela postavka intrigantna, ali vrlo naivno sprovedena. Naime, pitanje naslednika vlasnika velike korporacije je izuzetno zanimljiva tema za film jer realno mnoge porodice nisu spremne da ostvare biološki kontinuitet dominacije nad određenim kapitalom a o poslovnoj veštini naslednika da i ne govorimo. Međutim, ovde je ta interesantna tema tek dotaknuta što je možda u skladu sa konvencijom stripa, međutim ako je osnovno polje delovanja junaka u ovom filmu poslovni svet, onda je to sigurno moglo da se nadogradi.

Film nije dosadan i obiluje događajima ali ono što mu nedostaje je intenzitet. Sve je nekako blago, neobavezno, bez nekog istinskog odnosa među likovima, drame, napetosti. I, u principu film koji ipak pretenduje da bue avanturistički mora da bude u tom smislu ubedljiviji.

Tomer Sisley je bled u glavnoj ulozi. Ono što je nama zanimljivo jeste to da se priča velikim delom dešava u Hrvatskoj koja je snimana na Siciliji ali glumi dosta naših glumaca, pre svih Raša Bukvić i Miki Manojlović koji imaju velika i značajne uloge, a Bojana Panić ima nešto manju. Miki i Raša igraju ozbiljne, izgrađene karaktere i jasno je da imaju tretman ozbiljnih glumaca.

Interesantno je da su se Hrvati oduvek žalili kako su Srbi, Krajišnici, bili glavni policajci u Hrvatskoj, tako da recimo i u ovom filmu neki od hrvatskih policajaca nose dvoglave orlove na ramenu i na zgradi policije piše ПОЛИЦИЈА. Uprkos brojnim domaćim glumcima očigledno je scenografe ponela emocija.

Jerome Salle je rukovodio filmom koji je imao solidan budžet i brojne vrlo fotogenične lokacije, ipak njegova rediteljska veština nije dovoljno velika da ih i maksimalno iskoristi tako da LARGO WINCH ostaje negde, u najmanju ruku, na pola puta.

* * / * * * *

[Cornelius]

Videh "Un prophete", film Jacquesa Audiarda. U zatvor, na šest godina, stiže sitan kriminalac, nepismeni klinac i biva primoran da ubije za račun korzikanskog klana. Tada počinje da uči, ne samo da piše, nego i da manipuliše ljudima, planira akcije, organizuje bandu... Iz zatvora izlazi kao dipl. ing. kriminala. Skoro fanatastična alegorija kako se andjeo pretvara u demona, ali istovremeno i alegorija u kojoj je zatvor metafora našeg društva. Autor nikoga ne sudi, nikoga ne smatra niti za dželata, niti za žrtvu. Scenario je inteligentan i kontrastiran, razradjen do maksimuma, što je i vrlina ("literarnost") i mana filma (manjak spontanosti). Mladi Tahar Rahim je izuzetan u ulozi mladog kriminalca, a Niels Arestrup je maestralan u ulozi matorog korzikanskog kriminalca, šefa klana. "Un prophete" ima žicu naturalizma koju ima i "Gomora", te kriminal ne izgleda glamurozno, nego gadno. Audiard pravi malo filmova, ali mu je većina lepo razradjena. On je trenutno jedan od vodećih autora srednje generacije.

[crippled_avenger]

Rapt
(France-Belgium)
By JORDAN MINTZER

   
A Diaphana Distribution (in France) release of an Agat Films, France 3 Cinema (France)/Entre Chien & Loup, RTBF, Ateliers de Baere (Belgium) production, in association with Diaphana Distribution, Films Distribution/Mercure Intl., with participation of Canal Plus, France 3, Cine Cinema. (International sales: Films Distribution/Mercure Intl., Paris.) Produced by Patrick Sobelman, Diana Elbaum, Sebastien Delloye. Directed, written by Lucas Belvaux.

With: Yvan Attal, Anne Consigny, Andre Marcon, Francoise Fabian, Alex Descas, Michel Voita, Gerard Meylan, Maxime Lefrancois, Christophe Kourotchkine, Sarah Messens, Julia Kaye, Patrick Descamps.

With his previous thrillers, "Trilogy" and "The Right of the Weakest," Belgian multihyphenate Lucas Belvaux effectively used the genre to explore questions of family, society and class. In "Rapt," a contemporized take on the real-life 1978 kidnapping of millionaire playboy Edouard-Jean Empain, the issues come clashing together in an explosive package that, despite some snafus, remains fairly riveting to the end. Boosted by Yvan Attal's harrowing portrayal of the incident's not-so-innocent victim, and by several suspense sequences helmed with efficiency and grace, the pic could escape seclusion in Francophone markets to find broader international exposure.

Highly covered by the French media at the time, Empain's nine-week sequestration started out as a criminal affair. But it soon became a moral scandale when proof of his lavish gambling and philandering was discovered by police and leaked to the press. Though his abduction was initially perceived as a harmless ploy for ransom, Empain was eventually seen by family, friends, co-workers and the public as having received the comeuppance he deserved.

Belvaux adapts the tale to present-day Paris, upping the bounty by many millions of Euros and fictionalizing the characters, but he otherwise remains quite faithful to the original events. These begin with jet-setter Stanislas Graff (Attal) being ambushed on his way to work, handcuffed and blindfolded in the back of a car, and then taken to a secluded rural cave where his captors, headed by the passive-aggressive "Marseillais" (Gerard Meylan), chain him up like an animal and slice off one of his fingers.

Filmed in jarring widescreen closeups by Belvaux's regular d.p., Pierre Milon, and edited with intensity and precision by Danielle Anezin, these and other sequences involving Graff are powerful, realistic setpieces shown from the victim's terrified p.o.v. Attal's depiction of Graff is both physically brutal and emotionally convincing, revealing his character's waning psychological state through painful contortions of his skeletal frame.

Less convincing, though not entirely uninteresting, is the simultaneous story of Graff's wife (Anne Consigny), right-hand homme d'affaires (Andre Marcon) and ruthless attorney (Alex Descas) dealing with various demands for ransom, while investigators uncover ample proof of the heir's sexual and monetary deviances. These scenes, played out in swanky drawing rooms or boardrooms, are often stiffly performed and all-too-systematically chilling, as if the rich and powerful will forever favor sangfroid and pedigree over pure emotions.

Well-employed tech package is rounded out by Riccardo Del Fra's moody, piano-heavy score.

Camera (color, widescreen), Pierre Milon; editor, Danielle Anezin; music, Riccardo Del Fra; production designer, Frederique Belvaux; costume designer, Nathalie Raoul; sound (Dolby Digital/DTS Digital), Henri Morelle, Ricardo Castro, Bernadette Thiboud; assistant director, Brieuc Vanderswalm; casting, Brigitte Moidon, Gerda Diddens. Reviewed at Gaumont Champs-Elysees Ambassade, Paris, Nov. 19, 2009. Running time: 126 MIN.

[tarana]

http://www.imdb.com/title/tt0494271/

la sconosciuta. tornatoreov film (nuovo cinema paradiso)

u poplavi prosečnosti i ispodprosečnosti, vrlo dobar 7.

na torentima čekam
http://www.imdb.com/title/tt1081935/
baaria

isti režiser.

[crippled_avenger]

Pogledao sam J'AI VU TUER BEN BARKA Serge Le Perona. Reč je o izuzetno interesantnom filmu, kako za ljubitelje klasičnog krimića, tako i za one koji vole istinite priče iz političke i filmske istorije.

Ono što je politička priča jeste otmica i ubistvo Mehdija Ben Barke, velikog severnoafričkog revolucionara koji je bio jedan od simbola antikolonijalnog pokreta početkom šezdesetih. To je jedna od velikih teorija zavere, i njegova sudbina je istovremeno vrlo jasna a opet nikada nije do kraja rasvetljena.

Inače, jedna od priča vezana za rasplet afere Marović-Delon bila je da je Uroš Milićević ubijen zato što je bio svedok Ben Barkine otmice a ne zbog ucenjivanja Delona.

No, kako god bilo, BEN BARKA je istinita priča, odnosno rekonstrukcija iskaza Georges Figona, propalice, harizmatičnog čoveka sa oboda džet seta koji je iskorišćen kako bi namamio Ben Barku i Pariz gde su ga u kooperaciji oteli francuski agenti i predali ga mafiji i marokanskim tajnim službama. Figonov sunovrat kreće kada zbog neizmirenh obaveza za ovaj posao a zatim i lične alavosti on kreće da prodaje medjima priču o otmici Ben Barke te ubrzo biva pronađen mrtav, kao žrtva vrlo neubedljivog samoubistva.

Le Peron je film koncipirao kao classy krimić sa sve Figonovom naracijom iz groba kao u SUNSET BLVD. i dosta dokumentarnih snimaka koji smeštaju priču u pilitički kontekst tadašnje Francuske. Rekonstrukcija epohe je stylish i što je još važnije vrlo filmofilska.

Ono što je ljubiteljima filma još zanimljivije jeste subplot u kome je Figon navukao Ben Barku pričom da priprema dokumentarni film o antikolonijalizmu, na kome rade Georges Franju i Marguerite Duras. Franju je poznat po svom kultnom filmu LE YEUX SANS VISAGE. Franju je jako bitna figura francuskog filma a u ovom filmu ga igra Jean-Pierre Leaud, čovek koji je specijalizovan za uloge reditelja (to je već radio u IRMA VEP i LE PORNOGRAPHE). Franjuov lik je vrlo interesantno prikazan, kao i Durasova, tako da je očigledno i sam Le Peron mudro prepoznao da su digresije sa njima posebna pikantnost ove priče.

Charles Berling je na neki način već postao francuski James Woods u francuskom VIDEODROMEu zvanom DEMONLOVER, a ovde nastavlja da ide tom linijom. Napravio je odličnu ulogu kao Figon i uspeo je da uhvati sve aspekte njegove ambivalentne ličnosti.

BEN BARKA je u tom smislu quite a catch i film koji zaslužuje da bude poznatiji nego što jeste.

* * * / * * * *

[crippled_avenger]

State Affairs
Une affaire d'etat (France)
By JORDAN MINTZER

A Mars Distribution release of a Les Chauves-Souris, Studio 37 production, in association with La Banque Postale Image 2, Cofiniova 5, Uni Etoile 6, with participation of Canal Plus, TPS Star. (International sales: Studio 37/Kinology, Paris.) Produced by Eric Neve, Alexandra Swenden, Adrien Maigne. Directed by Eric Valette. Screenplay, Alexandre Charlot, Franck Magnier, based on the novel "Affairs of State" by Dominique Manotti.

With: Andre Dussollier, Thierry Fremont, Rachida Brakni, Christine Boisson, Gerald Laroche, Serge Hazanavicius, Eric Savin, Jean-Marie Winling, Jean-Michel Martial, Elodie Navarre, Laurent Bateau, Denis Podalydes.

A tough femme cop takes on a murderous web of "State Affairs" in Eric Valette's catchy, edgy but far-from-subtly helmed Gallic thriller. Adapted from Dominique Manotti's novel about a string of killings linking an arms-dealing middleman to the upper echelons of French power, the script rattles off multiple plot twists like an AK-47 and then races along to an explosive finale. Still, attempts to create meaningful characters or to explore greater sociopolitical issues are quashed by overtaxed direction, while a weighty score drowns out the gunfire. After modest French release, affairs will be concluded in Euro ancillary.

There's plenty going on in the fast-paced, MacGuffin-heavy screenplay by scribe duo Alexandre Charlot and Franck Magnier ("Welcome to the Sticks"). So much so, in fact, that things remain fairly murky throughout the opening segments and only pick up steam and interest during the pic's more satisfying midsection.

Action begins with an underwhelming, CGI-rendered explosion of a plane over the Gulf of Guinea. The charter, which was transporting guns to Congo in exchange for eight French hostages, is the work of shadowy political player Victor Bornand (Andre Dussollier), who's forced to cover up the affair with the help of his cagey hitman, Michel Fernandez (Thierry Fremont).

When the corpses start piling up, Nora (Rachida Brakni), a stubborn policewoman of Arab origin, begins investigating the unexplained murders. She soon gets wind of a vast government conspiracy that involves everyone from a hapless call girl (Elodie Navarre), a ruthless madame (Christine Boisson) and a wimpy defense contractor (Denis Podalydes) to the inner realms of the Elysee Palace.

Though the multiple plotlines and convoluted Franco-African dealings are hard to follow at points, the narrative eventually streamlines into a bloody game of cat and mouse that's more engrossing than its participants or consequences. The chase culminates in a sizable standoff between cop and killer on Paris' Butte Montmartre, making clever use of the neighborhood's geography and tourist appeal.

Valette ("One Missed Call") has a steady hand for action setpieces, but overdoes other sequences with throbbing closeups. Only minimal efforts are made at characterization. Nearly every scene is accompanied by composer Noko's mushy harpsichord music, which kills off dramatic tension in the final reels.

Performances are decent, and Fremont ("Femme Fatale") amusingly plays an assassin who becomes even more likable as his body count grows.

Camera (color, Panavision widescreen), Vincent Mathias; editor, Fabrice Rouad; music, Noko; production designer, Jean-Marc Tran Tran Ba; costume designer, Sophie Breton; sound (Dolby Digital/DTS Digital), Didier Codoul, Gael Nicolas, Cyril Holtz; assistant director, Jean-Andre Silvestro; casting, Francis Rignault. Reviewed at UGC Cine Cite Les Halles 2, Paris, Nov. 25, 2009. Running time: 98 MIN.

[crippled_avenger]

Sony Pictures has optioned the rights for an English-language film adaptation of international literary sensation "The Girl With the Dragon Tattoo" reports the trades.

Steve Zaillian ("American Gangster," "Schindler's List") is in talks to write the script based on the first of the crime thriller novel trilogy by late Swedish journalist-activist Stieg Larsson.

The story follows Mikael Blomqvist, a disgraced journalist and Lisbeth Salander, a bisexual female hacker with Asperger's syndrome who investigate the 40-year-old disappearance of a industrialist's niece on a remote island.

Their investigations uncover religious killings, Nazism, rape, child abuse and murder. The next two novels deal with a conspiracy within the Government dating back to the Cold War. All three books have scored rave critical reviews, especially for the Salander character who's considered one of the most compelling female characters of modern fiction.

Yellow Bird Films produced Swedish-language film adaptations of all three books which scored European release this year. 'Tattoo' (released as "Män som hatar kvinnor") opened in February and pulled in nearly $100 million across the continent. Music Box Films acquired US distribution rights and will release 'Tattoo' in select theatres on March 19th. Should that fare well, the subsequent two films will be released later in the year.

Scott Rudin ("No Country for Old Men") will produce the remake with Yellow Bird's Ole Sondberg and Soren Staermose. However the deal isn't yet locked due to a rights dispute between Larsson's parents and his longtime partner, Eva Gabrielsson.

[crippled_avenger]

Dossier K.
(Belgium-Netherlands)
By BOYD VAN HOEIJRead other reviews about this film

Powered By
'Dossier K.'

Most Viewed:
Sandra Bullock makes history(4817 views)
Adam Carolla lands NBC pilot(3854 views)
Will Sam Mendes direct Bond?(2565 views)
Sony postpones 'Spider-Man 4'(1538 views)
'Thor' set to bow May 6, 2011(1386 views)
Mann, Milch in 'Luck' with HBO(1266 views)
           

A KFD (in Belgium) release of a KFD, Eyeworks (Belgium)/Phanta Vision (Netherlands) presentation and production, in association with TROS, Een. Produced by Peter Bouckaert, Erwin Provoost, Petra Goedings. Co-producers, Jean Philip de Tender, Bert Meyer. Directed by Jan Verheyen. Screenplay, Carl Joos, Erik Van Looy, Verheyen, based on the novel by Jef Geeraerts.

With: Koen De Bauw, Werner De Smedt, Blerim Destani, Hilde De Baerdemaeker, Filip Peeters, Jappe Claes, R. Kan Albay.
  Bustling Antwerp and backwoods Albania are the twin stages of tragedy in "Dossier K.," Belgian helmer Jan Verheyen's stylish Euro thriller set in the highly coded milieu of the Albanian underworld. Reuniting the two buddy cops from Erik Van Looy's "Memory of a Killer" (aka "The Alzheimer Affair"), also based on a Jef Geeraerts novel, this sequel of sorts lacks the imposing presence of "Memory" thesp Jan Decleir, but is an otherwise solidly made and engaging piece of entertainment. Pic has topped the local B.O. charts since its Dec. 9 release and will again interest international genre specialists.
After the Alzheimer-plagued, morally compromised hitman in "Memory of a Killer," this time, Antwerp cops Vincke (Koen De Bauw) and Verstuyft (Werner De Smedt) face a younger antagonist with significantly less screen time. This makes it harder for auds to fully consider the reasoning behind the criminal's actions, which was one of the strong suits of "Memory."

The powerful opening cuts between a wolf hunter in the Albanian mountains (credibly repped by the Spanish Pyrenees) and an assassination in the port of Antwerp of a middleman with a fake Italian passport. The identities of the hunter and the murdered man aren't initially revealed, but the two are already visually connected by the nimble work of editor Philippe Ravoet.

Vincke and Verstuyft investigate the case of the Antwerp victim, and the trail quickly leads to the local Albanian mafia. However, the burly local Albanian clan leader (R. Kan Albay, terrific), denies knowing the dead man.

Like Steven Knight's screenplay for "Eastern Promises," which centered on a Russian web of crime in London, "Dossier K." derives much of its atmosphere -- and several clever plot points -- from an underworld that is part clan-based, part steeped in the traditions of a foreign culture. The rural Albanians' respect for their book of laws and honor, the Kanun, plays a special role here, and is timely: Its resurgence in the post-communist era is the subject of this year's Albanian foreign-language Oscar submission "Alive!"

As in "Memory of a Killer," street cops Vincke and Verstuyft provide not only collegial banter but also have to butt heads with their unhelpful colleagues on the Belgian judiciary police, including Filip Peeters and Jappe Claes, with Claes especially impressive as the oily prosecutor.

Verheyen and his co-screenwriters Erik Van Looy (who directed "Memory") and "Memory" scribe Carl Joos make sure the shootouts feel dangerously real. When one of Vincke and Verstuyft's colleagues, and a potential love interest, is caught in the line of fire, the pic becomes unexpectedly moving and refreshingly sober about the day-to-day risks of police work.

Acting is strong across the board, and tech package topnotch, with Frank van den Eeden's twitchy widescreen lensing and the menacing score providing an edge-of-your-seat feel.

Camera (color, HD-to-35mm, widescreen), Frank van den Eeden; editor, Philippe Ravoet; music, Melcher Meirmans, Merlijn Snitker, Chrisnanne Wiegel; production designer, Johan Van Essche; costume designer, Kristin van Passel; sound (Dolby SRD), Simone Galavazi; associate producers, Danielle Raaphorst, Sjef Scholte, Guido Dekeyser; assistant director, Marcus Himbert; casting, Gunter Schmid, Sara De Vries. Reviewed at Kinepolis, Brussels, Dec. 14, 2009. Running time: 121 MIN.

[crippled_avenger]

The Murder Farm
Tannoed (Germany)
By DEREK ELLEYRead other reviews about this film

     

A Constantin Film Verleih release of a Bernd Eichinger/Constantin Film presentation of a Wueste Film West production, in association with Constantin Film, Hugofilm Prods. (International sales: the Match Factory, Cologne.) Produced by Hejo Emons, Stefan Schubert, Ralph Schwingel, Kristina Loebbert. Executive producer, Loebbert. Co-producers, Martin Moszkowicz, Christof Neracher. Directed by Bettina Oberli. Screenplay, Petra Lueschow, Oberli, based on the 2006 novel by Andrea Maria Schenkel.

With: Julia Jentsch, Monica Bleibtreu, Volker Bruch, Filip Peeters, Gundi Ellert, Brigitte Hobmeier, Lisa Kreuzer, Vitus Zeplichal, Werner Prinz, Janina Stopper, Andreas Buntscheck, Peter Harting, Nils Althaus, Dagmar Sachse.
  Lashings of grungy detail, snarling Bavarian peasants and doom-laden religioso trappings add up to a meaty rural whodunit in "The Murder Farm." Overcooked in a good way, and lightened by Julia Jentsch's engaging performance as an outsider who returns to her native village, where a hideous crime took place a few years earlier, this pic version of Andrea Maria Schenkel's acclaimed debut novel falls halfway between murder mystery and horror movie. Though it surprisingly failed to draw much blood at German wickets in November, "Farm" is an intelligent, creepy crowdpleaser with some offshore potential.
Pic is the second German production this year, following the blah "Kaifeck Murder," inspired by the famous, still-unsolved case of 1922, in which six people were slaughtered one night on a remote Bavarian farm about 40 miles north of Munich. The case has inspired several works across all media. Schenkel's 2006 novel -- compared by some to Truman Capote's "In Cold Blood" -- stayed very close to the known facts but changed the names and updated the story to the '50s.

Much of the novel consists of verbal testimonies to an unnamed person who spent a happy summer in the village years earlier. Scripter Petra Lueschow's smart movie solution is to invent the character of Kathrin (Jentsch), a young nurse who returns one summer to her hometown for her mother's funeral and becomes curious about a mass murder that occurred two years earlier at Tannoed farm. As Kathrin learns more about the event, the movie cross-cuts between her experiences and the murders themselves, setting up two parallel strands (one in summer, the other in winter).

Kaifeck Murder," helmed by Esther Gronenborn, was a far more conventional genre exercise, corny and chill-free. "Murder Farm" has a far more realistic tone; doused in period atmosphere and themes of religious guilt and salvation, the film entices the viewer (along with Kathrin) with the promise of a final resolution.

Swiss helmer Bettina Oberli is working more in the wintry style of her 2004 drama "North Wind" than that of her small-town comedy "Little Paris" (2006). But though the pic was actually shot in the Eifel mountains in Western Germany, she convincingly creates the atmosphere of a mid-'50s Bavarian village in both seasons, with mud-under-the-fingernails detail and hard peasant faces concealing depths of collective guilt and horror.

The opening sequence, set only hours before the slaughter, has Traudl Krieger (Monica Bleitreu, in her final role) taking her younger sister, Marie (Dagmar Sachse), to Tannoed farm, where Marie is to work for the hated Danner family. En route, the pair bump into a half-crazed drifter in the forest facing the farm. Later that evening, Marie gets a pickaxe to the skull.

Two years later, Kathrin arrives for a short stay and is put up at the farm of her mother's employers, Georg and Ruth Hauer (Filip Peeters, Gundi Ellert), whose son, Johann (Volker Bruch), was a childhood friend of Kathrin's. As the two rekindle their former attraction, and Kathrin learns more about her own background, the shadow of Tannoed -- right across from the Hauers' farm -- looms ever larger.

Concurrently, the events of the fateful night two years earlier are unraveled from the p.o.v. of the drifter, who takes shelter in the Tannoed barn as the Danners succumb to the killer: first Barbara Danner (Brigitte Hobmeier), then her gruff, wicked father (Vitus Zeplichal), his taciturn wife (Lisa Kreuzer), Barbara's two children and Marie.

Though the religioso aspects are piled on a tad too heavily, Oberli and her tech team -- especially d.p. Stephane Kuthy, often shooting in handheld closeup, and Swedish composer Johan Soderqvist, working in Philip Glass mode -- create some chilling sequences of dread and horror. Visual standout is a sequence in which the villagers emerge en masse from the dark, surrounding forest to gaze at "evil" Tannoed farm; one of the creepiest scenes is Kathrin's sudden realization of what may well be the truth.

Jentsch, one of German's brightest young stars ("Sophie Scholl," "Effi Briest"), and the only thesp here who doesn't adopt a heavy Bavarian accent, looks convincing as a former village girl and brings an engaging openness to Kathrin that offsets the locals' closed-off personalities. Perfs are generally spot-on, though Bleibtreu is a tad overly theatrical as the fire-and-brimstone-spouting Traudl.

Pic is dedicated to the memory of Bleibtreu, who died in May at age 65 and, ironically, recorded the audio version of Schenkel's original novel. Her role in the film was voiced by her sister, Renate.

Camera (color, widescreen), Stephane Kuthy; editor, Michael Schaerer; music, Johan Soderqvist; production designer, Christiane Krumwiede; art director, Christiane Schmid; costume designer, Ute Paffendorf; sound (Dolby Digital), Marc von Stuerler; sound designer, Stephan Konken; assistant director, Till Bosse; casting, Susanne Ritter. Reviewed at Kino in der KulturBrauerei 1, Berlin, Dec. 11, 2009. Running time: 95 MIN.

[ginger toxiqo 2 gafotas]

...mada je ovaj topic dosad mahom služio za pohvalna izjašnjavanja o novijim euro krimi ostvasrenjima, ja ću da skrenem pažnju na jedan naslov koji bi trebalo zaobići u najširem luku... reč je o friškom UK  delu 44 INCH CHEST koga preporučuje zastršujuće zvučna glumačka postava (Ray Winstone, Tom Wilkinson, Ian McShane, John Hurt, Stephen Dillane, Steven Berkoff, Joanne Whalley i Melvil Poupaud) i scenaristički duo koji stoji iza Glazerovog SEXY BEAST od pre nekoliko godina... nažalost, ovo nije ni prići niti prethodniku (koji me i nije baš oduševio), niti hvalospevnim prikazima, niti reputaciji glumačkih imena - 44 INCH CHEST je naprosto nepojmljivo cerebralna, krajnje udavna, iritatno preverbalizovana i sasvim bespredmetna, neuspela igrarija poznatim kanonima novijeg britanskog ostrvskog filma... pogibeljno dosadno i ništa više!!!!

[Kunac]

Nesnosan film. Podsetio me je na Hadersfild.

[ginger toxiqo 2 gafotas]

The Secret In Their Eyes 2009 DVDRip XviD-LAP



The story, set in 1999, is told in flashback form: in June 1974 a federal justice agent, Benjamín Espósito, becomes spellbound by and subsequently entangled in the investigation of the crime of a young woman, brutally raped and murdered inside her house in a Buenos Aires neighbourhood.

[Otis]

Apsoluto remek delo i jedan od najboljih filmova koje sam pogledao prosle godine:
http://www.imdb.com/title/tt1132620/

[marduk]

Apsoluto remek delo i jedan od najboljih filmova koje sam pogledao prosle godine:
http://www.imdb.com/title/tt1132620/

The Girl with the Dragon Tattoo je aka naslov, jel tako? Daj malu elaboraciju zašto vredi ovo gledati?
Ima li eng.titlova?

[Ghoul]

imaš bre na mom blogu kratku elaboraciju.
hold yer horses.
nije loše, al ništa posebno.
nako, osrednja trojčica.

[crippled_avenger]

Ja bih rekao da je loše. Ne znam kome a da nije čitao knjigu može jedna takva misteija biti zanimljiva dve i po čuke. Ja sam čitao knjigu i jedva sam ga podneo. Podela je odvratna, egzekucija je televizijska.

[marduk]

imaš bre na mom blogu kratku elaboraciju.
hold yer horses.
nije loše, al ništa posebno.
nako, osrednja trojčica.

Jes bre, odatle mi i poznat film. Će se skida, a kad će se gleda - otomepotome.

[ginger toxiqo 2 gafotas]

...kanda je ovo prava adresa za pohvalu za španski naslov EL REY DE LA MONTANA (2007)...film počiva na tipskoj paranoidnoj-absurdnoj postavci o ničim izazvanom nasilju nad zblanutim civilom; u toj ravni izvornici bi mu bili DELIVERENCE, STRAW DOGS, FUNNY GAMES  i mnogi drugi, više ili manje-čuveni, ali ono što je bitno da EL REY DE LA MONTANA svoju šansu traži i pronalazi u ritmički vešto ispričanoj priči čime nadoknađuje za deja-vu postavku i nešto skromniji budžet... EL REY DE LA MONTANA je simpatičan i dovoljno kvalitetan mali film u kome sve bitno funkcioniše u dovoljnoj meri i zato i zaslužuje sasvim grlenu pohvalu...

[ginger toxiqo 2 gafotas]

...početkom prošle sedmice sam pogledao JUST ANOTHER LOVE STORY Olea Bornedala... ovaj naslov je već predstavljen na samom ovom topicu, a ja bih samo rekao da ovaj neo-noir naglašene arthouse provinijencije, začinjen sirkovski potenciranom melodramom, iako šminkersko-pozerski postavljen, u biti i osnovnom zamajcu očigledno veoma nadahnut takođe uspelim OPENHEARTS Susanne Bier (a u oba filma glumi Nikolaj Lie Kaas), i u više mahova previše pretenciozan, ostavlja baš jak utisak i odlično funkcioniše u svim aspektima kojih se dotiče... a tu je i Dejan Čukić!!!

[crippled_avenger]

Pogledao sam KAERLIGHED PA FILM Ole Bornedala. Reč je o filmu koji objašnjava paradigmu koju je pokušao da dostigne Srdan u svom abandonovanom (?) projektu OBOREN POGLED i kasnije u KLOPCI. Ovo je ta vrsta arty euro-trilera sa transgresivnom pričom i holivudskom realizacijom ali superiorno realizovana.

Bornedal je jedan od palih evropskih anđela sa početka devedesetih koji su otišli u Miramax i uiglavnom proćerdali ugovore koje su im Weisnteini dali. Doduše, Bornedal je snimio čak solidan film po svom evropskom originalu, ali kasnije nije razvio dalju karijeru.

U nekim naslovima koje je radio po povratku, Bornedal je pokazivao tehničku kompetentnost holivudskog nivoa a u VIKARENu čak i sklonost narativu koji je po svojoj postavci bliži holivudskom filmu. U novom filmu, uz pomoć DPa Dana Laustsena koji ima holivudsko iskustvo pravi tehnički besprekorno realizovan arty triler sa izvanrednom vizuelnom kulturom, pričom koja je uvek na granici melodrame i trilera i majstorskom montažom koja daje posebnu dubini strukturi.

Iako scenario u pojedinim tačkama nudi izvesna neubedljiva rešenja, Bornedal to uspeva da prevaziđe maksimalnim korišćenjem svake dramske situacije, uključujući tu i one malo verovatne koje kroz mudro korišćenje čini krajnje ubedljivim i intrigantnim.  Bornedal u ovom filmu prepoznaje većinu dugmadi koja mu priča nudi i pritiska ih kako treba.

Ono što je bio najveći rizik jeste filmska samosvet glavnog junaka data u parafrazi klasičnog noir voiceovera. Na svu sreću, film nikada ne postaje žanrovski pastiš već je pre reč o filmu sa junakom koji je svestan postojanja kinematografije i žanrovskih konvencija iz filmova.

Naš čovek Dejan Lučić, koji je posle Refnovih i Spang Olsenovih filmova imao cameo u KLOPCI kao čovek koga ubija Glogovac ima dosta bitnu ulogu. Međutim, najveći gem ovog filma je Šveđanka Rebecka Hemse koju znamo iz STRANDVASKARENa. Ona je odlična u ulozi komatozne femma fatale i uspeva da iskomunicira energiju i ubedi publiku kako je zavela glavnog junaka. Danski leading man Nikolaj Lie Kaas ima odličan turn u manjoj ulozi glavnog negativca. Gluma je kompetentna i na očekivano visokom nivou.

Ne znam koji su Bornedalovi planovi, ali ovo je tip filma koji bi nekom drugom reditelju obezbedio priliku u Holivudu. Nisam siguiran da li bi se on vraćao ili ne ali sudeći po profilu ovog filma, rekao bih da ga zanima tehnički usavršen filmmaking kakvim bi mogao da se bavi u Holivudu.

* * * / * * * *

[ginger toxiqo 2 gafotas]

...moram da pohvalim i MESRINE diptih, i ne samo da pohvalim, već da istaknem da je ovo, po mom sudu, naravno, nepobitno remek-delo...

...zbunjivao me je, i to dosta, razvoj Richetove rediteljske karijere - nakon korektne, ali bledunjave drame za domaće tržište (DE L'AMOUR), on neočekivano dobija šansu za proboj na severnoamerički kontinent u vidu remake-a ASSAULT ON PRESINCT 13, te se, premda se dosta dobro/sasvim zadovaljajući snašao na tom prepravku Carpenterovog klasika, vraća u Francusku. Tek sam pogledavši MESRINE shvatio da je to prirodna putanja napredovanja, te da je sve to bila priprema za ovaj podvig....

...a MESRINE diptih jeste podvig, prvenstveno jer uspeva da u sebi spoji najbolje iz nasleđa gangsteskih biopica i drama sa jakim društvenim komentarom, kao i zato što uspeva da isporuči filmski portet junaka čija silovitost nalazi paralelu u silovitosti ovog filmskog pakovanja. Bravo!!!

[ginger toxiqo 2 gafotas]

....odlična vest za ljubitrelje LE CONVEYEURa - dvd rip (uz engleske titlove) narednog krimića Nicholasa Boukhriefa - CORTEX (2008)...

Code Select Expand

http://rapidshare.com/files/340597177/C0RT3X.part01.rar
http://rapidshare.com/files/340597175/C0RT3X.part02.rar
http://rapidshare.com/files/340597186/C0RT3X.part03.rar
http://rapidshare.com/files/340597189/C0RT3X.part04.rar
http://rapidshare.com/files/340597190/C0RT3X.part05.rar
http://rapidshare.com/files/340638977/C0RT3X.part06.rar
http://rapidshare.com/files/340638980/C0RT3X.part07.rar
http://rapidshare.com/files/340638992/C0RT3X.part08.rar
http://rapidshare.com/files/340639127/C0RT3X.part09.rar
http://rapidshare.com/files/340639125/C0RT3X.part10.rar
http://rapidshare.com/files/340683756/C0RT3X.part11.rar
http://rapidshare.com/files/340683751/C0RT3X.part12.rar

nema lozinke

[ginger toxiqo 2 gafotas]

The Girl Who Kicked the Hornet's Nest 2009 Swedish Thriller ENG SUB 

Code Select Expand

http://rapidshare.com/files/359264037/tgwkthn.part14.rar
http://rapidshare.com/files/359264016/tgwkthn.part13.rar
http://rapidshare.com/files/359264035/tgwkthn.part12.rar
http://rapidshare.com/files/359264015/tgwkthn.part11.rar
http://rapidshare.com/files/359216441/tgwkthn.part10.rar
http://rapidshare.com/files/359216442/tgwkthn.part09.rar
http://rapidshare.com/files/359216435/tgwkthn.part08.rar
http://rapidshare.com/files/359216481/tgwkthn.part07.rar
http://rapidshare.com/files/359216393/tgwkthn.part06.rar
http://rapidshare.com/files/359166841/tgwkthn.part05.rar
http://rapidshare.com/files/359166902/tgwkthn.part04.rar
http://rapidshare.com/files/359166839/tgwkthn.part03.rar
http://rapidshare.com/files/359166838/tgwkthn.part02.rar
http://rapidshare.com/files/359166908/tgwkthn.part01.rar

Code Select Expand


http://rapidshare.com/files/360774284/TGWKTHN-ENG-SOULSTORM-V2.1.srt

[crippled_avenger]

Pogledao sam dugo očekivani novi film Nicolas Boukhriefa CORTEX. Čekanje se itekako isplatilo. Reč je o pravom evropskom trilčeru za sladokusce, sa premisom i glumačkom podelom koje nastavljaju korak dalje od onoga gde je MEMENTO stao i vrše potpunu rekonstrukciju mitske figuire francuskog filmskog policajca.

Već u Novom Holivudu imamo filmove u kojima se dekonstruišu američki hard boiled detektivi kod Bentona ili Altmana ili Richardsa, ali u CORTEXu Boukhrief ide do kraja razarajući najmoćnije oružje tog junaka a to je njegov mozak.

Glavnog junaka igra Andre Dussollier koji u principu nije bitan glumac što se tiče policijskog filma, ali pošto je francuska produkcija policiera velika, imao je on svoj fair share. Kao što su Nahona reinventovali reditelji poput Noea i Aje, Dussolliera je reinvetovao neoklasicista Frederic Schoedoerffer. Boukrieff je deo te ekipe sa Noeom i Kassovitzom, pa bi se moglo reći da je i Dussollier generacijski glumac-fetiš.

U podeli značajnu, kako po funkciji tako i po filmofilskom značaju, ulogu ima Marthe Keller, u jednoj pravoj Meho-friendly GILF ulozi. Marthe je odigrala neke od najsenzualnijih žena sedamdesetih a iz njenog bogatog opusa, ja bih lično izdvojio BLACK SUNDAY, moj lični favorit i svakako FEDORU. Na neki način, ima malo elemenata FEDORE u njenoj roli u CORTEXu.

Zaplet filma je sjajno postavljen, ni gledalac ni sam junak zbog njegovog oboljenja nisu do kraja sigurni šta se dešava, da li ima osnova za njegovu sumnju da domom hara ubica ili je to sve samo eho starog policijskog uma koji se probija kroz slojeve alchajmerizovanog tkiva. Ovaj film je showcase za reditelja i glavnog glumca i Dussollier je vitalniji nego ikad što je inače vrlo istinito jer jedan od osnovnih problema sa senilnim ljudima jeste upravo to što im je telo zdravije od mozga i to dovodi do opasnih situacija. U tom smislu, ovaj film je vrlo istinit i ne koristi alchajmerizam samo kao plot device.

Boukhrief ni u jednom trenutku ne zaluta previše u grotesku, iako naravno ima dosta fino integrisanog humora proisteklog iz bizarnosti cele situacije.

Senilnost junaka doduše dovodi do jedinog dramaturškog problema filma a to je što razrešenje ima izvesne nepripremljene elemente, ali, da su ranije jače pripremani, onda bi alchajmerizam bio korišćen u manje misterioznom ključu. Međutim, ova formalna zamerka je zaista opravdana sadržajem filma.

* * * 1/2 / * * * *

[crippled_avenger]

New Int'l. Release
22 Bullets
L'immortel (France)
By JORDAN MINTZER

A EuropaCorp Distribution release of a EuropaCorp, TF1 Films Prod., Marie Coline Films, SMTS production, in association with Sofica EuropaCorp, with participation of Canal Plus, CineCinema. (International sales: EuropaCorp, Paris.) Produced by Pierre-Ange Le Pogam. Executive producer, Didier Hoarau. Directed by Richard Berry. Screenplay, Berry, Matthieu Delaporte, Alexandre de la Patelliere, Eric Assous, based on the novel "L'immortel" by Franz-Olivier Giesbert.

With: Jean Reno, Kad Merad, Jean-Pierre Darroussin, Marina Fois, Luc Palun, Richard Berry, Joey Starr, Dominique Thomas, Martial Bezot, Daniel Lundh, Max Baissette De Malglaive.

There's at least one cliche for every gunshot fired in "22 Bullets," a tremendously overcooked mafioso thriller from thesp-cum-helmer Richard Berry ("The Black Box"). Starring Jean Reno as a vengeful godfather who single-handedly takes out half the city of Marseilles (while barely breaking into a jog), this frenzied, often senseless crime saga fails to sustain interest in its cast of cops, crooks and weeping widows, with action sequences that are poorly staged fits of ultraviolence. Following a 500-plus-screen rollout in Gaul, EuropaCorp's €22 million ($30 million) investment should miss its B.O. target. Flesh wounds are likely on homevid and VOD.

Although it's based on Franz-Olivier Giesbert's 2007 novel "The Immortal" (also the French title), the script in fact plays like a mash-up of every modern mobster movie from "The Godfather" to "A Prophet," but lacks the drama and street cred of such gems. If anything, the Mafia seems to serve as an excuse for abundant displays of blood and gore, while attempts at emotional hooks -- mostly via Klaus Badelt's generic music -- prove ineffective.

Seasoned gangster Charly Mattei (Reno) drives his young son (Max Baissette De Malglaive) along the Cote d'Azur while blasting "Tosca" (natch), then walks into a parking-garage ambush. Although he's shot 22 times at point-blank range, Charly survives. And after his favorite henchman is literally hacked to pieces and fed to the dogs, he decides it's time for payback.

Having suffered nerve damage to his right hand, he uses his left one to shoot down one enemy after another, sometimes in broad daylight. That he does so without any major resistance from his rivals -- led by the preposterous Tony Zacchia (Kad Merad of "Welcome to the Sticks," straining for credibility), who dresses in black, wears sunglasses indoors and speaks with a false stutter -- is one of many plot points left unchecked by Berry and his three co-scribes.

With several scenes of a purely gruesome nature (head-kicking seems to be a favorite), a recurring voiceover from Charly that lends zero depth to his character ("Spilt blood never dries," etc.), and car chases that are so sliced-and-diced they're devoid of any continuity, there's little left to salvage by the time all the bodies are counted.

While Reno's depiction of Charly is often wooden and far too immobile for the various stunts required, the drug-dealing heavies he targets tend to overact (and overdress) before quickly expiring. As Charly's longstanding lawyer and now his brother-in-law (don't ask), Jean-Pierre Darroussin gives his character something extra, while the talented Marina Fois can go only so far with Marie, a cartoonish female cop out to avenge her dead husband.

What's missing from the story and action is only partly redeemed by some breathtaking location shooting in and around Marseilles. Though he often digs too deep into the filter box, d.p. Thomas Hardmeier ("Partners") provides some needed visual escape from a movie whose most vicious assault is on the viewer's intelligence.

Camera (color, Panavision widescreen), Thomas Hardmeier; editor, Camille Delamarre; music, Klaus Badelt; production designer, Philippe Chiffre; costume designer, Carine Sarfati; sound (Dolby Digital/DTS), Amaury de Nexon, Didier Lozahic; assistant director, Ludovic Bernard; casting, Nicholas Ronchi. Reviewed at UGC Danton 2, Paris, March 29, 2010. Running time: 115 MIN.

[Ghoul]

evo jednog sjajnog filma koji bi mogao da vam promakne ako se kljukate samo anglo-američkim produktima, a jedino osveženje (if any) tražite u aziji, zaboravljajući na bogatstvo stare dobre evrope, kolevke svega što valja u današnjoj zapadnoj kulturi, a svakako – u filmu.

http://ljudska_splacina.com/2010/04/nyomozo-aka-investigator-2008.html

[Le Samourai]

Ovo zvuchi vrlo dobro (i mnogo bolje od datog mu 3+). Sto godina mi je na kompu, izgleda mu je vreme.

Inache, za lenje, fajl se zove The.Investigator.2008.DVDRip.XviD-LAP

[Ghoul]

pa da, tu je negde, 3+/4- pustiću ga malo da odleži pa ću da vidim.
ne bih mnogo pogrešio ni sa slabom četvorkom.
cifre na stranu, overa je obavezna a film izvanredan.

[Milosh]

Hvala na preporuci. Ovo zvuči odlično.

[Meho Krljic]

Pristavljeno.