MOST ANTICIPATED HORRORS

[Son of Man]

Meni ovo ne smeta, ja cu to da gledam - fala na dojavi dzindzer (kids have no souls).

[ginger toxiqo 2 gafotas]

...naravno, samo gukni ako ti zatrebaju linkovi...

[Ghoul]

Several seasons of watching Entourage has taught me that when a good looking actor really wants a role, he gets it, whether or not he actually has any talent. So that must make this actors get what they want theory doubly true for Robert Downey Jr., since you he's not only good looking but can also act the pants off just about anyone.
Maybe that theory cannot be proven, but you should know that Robert Downey Jr. really wants to play Edgar Allan Poe. He's in a place right now where he has his pick of parts, and he tells Metro that what he most wants is to play the famously disturbed, drug abusing, Raven quothing emo poet. In particular, he wants to play him for Sylvester Stallone who has written a Poe script he's been trying to get made for years now. At one point the role was offered to Viggo Mortensen, and around that same time Downey was actually rumored to be in the running for it... but since then we've heard nothing.

Two years later, Robert Downey Jr. has been in Iron Man and is without a doubt, the toast of Hollywood. If he really wants Edgar, maybe he has the star power necessary to get this thing moving, assuming Stallone has the good sense to bring him on board.

[ginger toxiqo 2 gafotas]

...upravo sam odgledao Lussierov preradak Mihalkinog MY BLOODY VALENTINE...

DOBRE STRANE - izrazito dinamičan, definitivno boljer izarde, a bolje stoji i na planu sasdržaja u odnosu na ogromnu većinu ovomilenijumskih preradaka klasičnih 80s slashera, nedostatak suptilnosti i takta (primetnih kod Mihalke) nadoknađujem izobiljem gora, dobrih efekata i meni neočekivane humorističnosti u scenama Henryjevih egzekucija...

LOŠIJE STRANE - neubedljiva gluma, nedostatak vidljivijeg kohezivnog faktora na opštem nivou i nešto što možda i nije mana, imajući u vidu uslove gledanja - finiši scena ubistava su usmeravana ka poenti koja je viđena za 3D eksploataciju....

...moram da se ogradim - Mihalkin izvornik je u samom vrhu 80s slashera i horora uopšte, tako da je Lussier u bitku, barem što se mog suda tiče, ušao sa ograničenim područjem borbe...

[Milosh]

Ghoul je na svom blogu dao 1+ za My Bloody Valentine rimejk. Ja nisam bio tako strog, ali sam ipak očekivao više... Moj komentar sa bloga:

Nije film baš toliko loš, mada jeste jedna velika propuštena prilika. Taman sam se na početku ponadao da će Lussier da krene Krejvenovim stopama, i da MBV time postane prvi novi slešer koji se smisleno nadovezuje na prvi (dobro, može i drugi) Vrisak, uz ekstra dozu krvi, ali... Ali, toga ima samo u zametku i nema ovde pravih likova, a ni zanimljivih situacija (jedino ona full frontal scena, mada je i to moglo bolje da se iskoristi), pamtljivih dijaloga, kao ni istinske tenzije i pravog duha; i Tom Atkins je u suštini protraćen. Pa ipak, ne bih rekao za film da je negledljiv, zapravo sasvim je gledljiv, ali ništa više od toga. (bolji je od Valentine, nastavka Urbanih legendi, nastavka Znam šta ste radili..., nastavka rimejka TCM-a, rimejka Halloweena, rimejka Prom Nighta... i verovatno još nekog novog slešerčića. 2+

[Ghoul]

ja ne mogu da verujem da je nekome 'gledljivo' nešto što je OVOLIKO nemušto slikano (toliko ružno izgleda ovaj 'film' da je to na nivou neke otaljane domaće TV sapunice, kao kamerom za slikanje svadbe da je rađeno!) i isprazno, bez ikakvog PUNCH-a, 'režirano'!

scene IZMEĐU ubistava su savršeno negledljive, nesnosno dosadne i debilne, a ubijanje ima svojih čari, ali ni tu se nije išlo dovoljno daleko, ni u zamisli a kamo li u osrednjoj egzekuciji.

u poređenju s ovim đubretom, rimejk helovina barem izgleda kao FILM, a nastavak rimejka TCM-a je barem elementarno gledljiv, iako sasvim nebitan. čak i nastavak Znam šta ste radili ukazuje na prisustvo REDITELJA na setu, što se za ovu debilanu od VALENTINA nikako ne može reći - lusije je izgubljen slučaj, tu nema pomoći.

meni je neverovatno da ipak umereno iskusni fanovi horora, kao što su gingerkunac i miloš, gutaju jedan ovako nejestiv zalogaj kao sasvim ok.
pazite, mi se možemo sporiti da li je ova čokolada ovakva ili onakva, da li je bolja ili niej od neke druge čokolade, ali mi nije jasno kako možete da primite ovu ŠEĆERNU TABLU i da je i dalje ocenjujete kao da je to čokolada!?
dovoljan je jedan minut, ma i manje, random, bilo gde, u filmu, da se vidi koliko je nepravedan kompliment ovu orgiju jevtine banalnosti uopšte nazivati FILMOM!

[Shozo Hirono]

u poređenju s ovim đubretom, rimejk helovina barem izgleda kao FILM,

Ne preteruj. :

[Ghoul]

trebalo je da naglasim 'IZGLEDA' ali me mrzelo da popravljam.

VALENTINO čak i ne LIČI na film, toliko je jeftin i ružan i bedasto slikan.

[Tex Murphy]

Mrzim što baš ja moram to da ti kažem, ali... pretvaraš se u MATORO ZANOVIJETALO!

[Ghoul]

Mrzim što baš ja moram to da ti kažem, ali... pretvaraš se u MATORO ZANOVIJETALO!

ne misliš li da je prilično neprikladno kada je neko - mlado zanovetalo?

[Kunac]

MBV je B film u svakom smislu te reči, a to podrazumeva da se na taj način i tretira. On nije ni imao pretenziju da bude čokolada tako da sam ga ja i razmatrao u kategoriji šećernih tabli.

Kao takav, meni je sasvim jestiv.

Uživao sam u nedostacima (od kojih neko proizilaze i iz činjenice da je predviđeno da film bude gledan u 3D) na isti način na koji uživam u nedostacima većine filmova iz klasičnog slasher perioda. Bolji mi je od nedavnog rimejka Petka 13-tog, recimo. Ništa epohalno, ništa za seču vena, već jedan gledljiv žanrovski fix.

[crippled_avenger]

I Can See You
By RONNIE SCHEIBRead other reviews about this film

Powered By A Cinema Purgatorio release of an Aphasia Films/Glass Eye Pix/Scareflix production. Produced by Peter Phok. Executive producer, Larry Fessenden. Directed, written, edited by Graham Reznick.

With: Ben Dickinson, Duncan Skiles, Christopher D. Ford, Heather Robb, Olivia Villanti, Larry Fessenden.
  In Graham Reznick's low-budget debut chiller, "I Can See You," produced under the aegis of fright maven Larry Fessenden, horror is purely in the eye of the beholder -- in this case, a myopic artist-cum-advertising photographer with father issues. A bunch of city-slicker friends camping out in the woods, the hoary setup of innumerable scarefests, is granted a decidedly Lynchian spin as everyday normality goes grotesque. Atmospheric audio fills each leaf and branch with nameless menace, while superimpositions and slow dissolves trace a psychological slide toward disintegration. Critically lauded pic, which bowed April 29 in Gotham, could build a cult following.
Launching their new advertising agency via environmentally toxic cleaning product Claractix, three young New Yorkers (Ben Dickinson, Duncan Skiles, Christopher D. Ford) venture into nature to capture images of purity. But the televised ghost of Claractix's long-lost 1950s spokesperson (played with eerily cheery insistence by Fessenden) haunts the film, morphing into disturbing images of more familiar demons. Reznick's sound design effectively jangles nerves, and two setpieces trumpet his visual prowess: a languid lovemaking scene lit by indirect flashlight and a tour-de-force musical number that grows increasingly horrific.

Camera (color, HD), Gordon Arkenberg; music, Jeff Grace. Reviewed at Cinema Purgatorio, New York, May 3, 2009. Running time: 97 MIN.

[Ghoul]

fino, daćemo mu šansu kad nam padne u krilo, ali imam rezervu kad u istom kontextu čujem 'fesenden' i 'understatement'. to je do sada najčešće bila formula za kvaziartističku gnjavažu...

[Milosh]

Ako to nekoga uopšte zanima, pojavio se i 3D dvdrip My Bloody Valentine...

[Tex Murphy]

Ako to nekoga uopšte zanima, pojavio se i 3D dvdrip My Bloody Valentine...

Cool, mene zanima! Još uvijek imam 3D naočale koje sam dobio uz Sharkboy & Lava Girl, kao i Spy Kids 3D! 

[Milosh]

Cool, mene zanima! Još uvijek imam 3D naočale koje sam dobio uz Sharkboy & Lava Girl, kao i Spy Kids 3D! 

Ja imam one koje sam dobio uz Freddy's Dead! 

[Milosh]

Pojavila se PARASOMNIA!!

Za one koji nisu u toku u pitanju je najnoviji film Williama Malonea (Creature, House on Haunted Hill rimejk, FearDotCom, Fair-Haired Child MOH epizoda)

Code Select Expand

http://rapidshare.com/files/230338045/PS.2008.avi.DVDRip-ArsONisT.part01.rar
http://rapidshare.com/files/230374798/PS.2008.avi.DVDRip-ArsONisT.part02.rar
http://rapidshare.com/files/230403427/PS.2008.avi.DVDRip-ArsONisT.part03.rar
http://rapidshare.com/files/230428878/PS.2008.avi.DVDRip-ArsONisT.part04.rar
http://rapidshare.com/files/230446602/PS.2008.avi.DVDRip-ArsONisT.part05.rar
http://rapidshare.com/files/230464780/PS.2008.avi.DVDRip-ArsONisT.part06.rar
http://rapidshare.com/files/230484916/PS.2008.avi.DVDRip-ArsONisT.part07.rar
http://rapidshare.com/files/230525594/PS.2008.avi.DVDRip-ArsONisT.part08.rar
http://rapidshare.com/files/230568927/PS.2008.avi.DVDRip-ArsONisT.part09.rar
http://rapidshare.com/files/230568930/PS.2008.avi.DVDRip-ArsONisT.part10.rar

[Tex Murphy]

Dobar je taj Meloun! Feardotcom je truba, ali kriv je scenarista.

[ginger toxiqo 2 gafotas]

...pogledao sam Malononovu PARASOMNIJU  i mogu reći da sam u priličnoj meri zadovoljan! Majstor isporučuje očekivano,posebno u drugoj, much gorier polovini filma. Zamerio bih mu raspričanost u prvoj trećini, gde je bilo očitih viškova za štrihovati, tu je trebalo malo utegnuti priču, dok bih sve ostalo oprostio na račun očito diskretnog budžeta (dometi su negde u ravni Rubenovog DREAMSCAPE ili Flynnovog BRAINSCANa). Mnogo je važnije da Malone poklonicima pruži prepoznatljivo - atmosferičnost, zlokobnost, mnogo široko-dubokih kadrova iz kojih svakakva čuda možda vrebaju...

... da, Sean Young je prisutna tek u mnijaturno minjaturnom cameu na početku filma i niš' više, to je velika zamerka kad sam ja u pitanju...

[Kunac]

Ja izuzetno cenim Melonea i drago mi je sto me Parasomnia nije izneverila. Nazalost, nije to film koji je imao sansu da bude prvoklasan. Ambiciozan a sa malim budzetom - to po pravilu ne ide dobro. Znaci, ocekujte indie ugođaj koji podrazumeva određene traljavosti u izradi. Dopalo mi se što film nije previše konvencionalan, i što ne pokušava da bude komercijalan po svaku cenu. Ja sam oprostio lose CGI efekte i mogao da iz filma izvucem jedno sasvim pristojno uzivanje... Mada, razumeću i one koji nisu oboreni sa nogu.

U svakom slučaju, apsolutno sjajan poster:::

[Kunac]

Ako to nekoga uopšte zanima, pojavio se i 3D dvdrip My Bloody Valentine...

Cool, mene zanima! Još uvijek imam 3D naočale koje sam dobio uz Sharkboy & Lava Girl, kao i Spy Kids 3D! 

Crveno-plave naočare se ne mogu koristiti za MBV 3D. Sorry.

[crippled_avenger]

Mutants
(France)
By JORDAN MINTZER

Read other reviews about this film
Powered By MRQE Review
A CTV Intl. release of a Sombrero Films production, in association with Cofinova 4, with the participation of Canal Plus, CineCinema, TPS Star, CNC. (International sales: TF1 Intl., Paris.) Produced by Alain Benguigui, Thomas Verhaeghe. Directed by David Morley. Screenplay, Morley, Johanne Bernard, Louis-Paul Desanges.

With: Helene de Fougerolles, Francis Renaud, Dida Diafat, Marie-Sohna Conde, Nicolas Briancon, Luz Mando, Driss Ramdi, Gregory Givernaud, Justine Bruneau de la Salle.

A gory crossbreed of "28 Days Later," "Dawn of the Dead" and several other zombie reprises, "Mutants" is far from groundbreaking but a worthy enough addition to the recent trend of screamers from Gaul. Writer-director David Morley's debut -- about a corrosive virus that turns humans into gut-munching, blood-vomiting monsters -- is fast, extremely dirty and rarely boring, despite routine plotting and few new surprises. Well-tuned low-budgeter performed weakly on May 6 local release, but could morph into potent homevid chow for horror fans in France and beyond.

From its splattery opening, in which an ambulance plows through a live body and then empties its own bloody cargo on a desolate country road, to the corpse-crunching finale, the pic sets the ketchup quotient very high and never disappoints.

Between all the plasma and latex is a dark two-hander about EMT worker Sonia (Helene de Fougerolles) and her infected b.f., Marco (Francis Renaud), the sole survivors of a horrific plague that's transformed the French population into one giant steak tartare. Holed up in an abandoned, zombie-surrounded mountain hospital, Sonia tries to keep Marco from fully mutating, before she's forced to fight on her own.

Morley keeps things quick and watchable by providing a relentless succession of grossouts while staying focused on his only plot point: Can you still love somebody if they've just spewed two liters of hemoglobin in your face and can't wait to literally eat your heart out?

Tech packaging makes the most of its sole location, with d.p. Nicole Massart's punchy but slightly over-bleached imagery capturing every last drop of gore by art director Olivier Afonso ("Inside") and makeup artist Frederic Laine ("Hitman").

De Fougerolles ("Vampire Party") and Renaud ("MR 73") manage to give life and attitude to the f/x-heavy narrative, which keeps its spare, awkward dialogue to a minimum.
More than one option



Camera (color), Nicole Massart; editor, Romain Namura; music, Thomas Couzinier; production designer, Jeremy Streliski; art director, Olivier Afonso; costume designer, Cecile Guiot; sound (DTS Digital), Gregoire Couzinier, Renaud Michel; visual effects supervisor, Stephane Bidault; special makeup effects, Frederic Laine; assistant director, Stephane Reus, casting, Aurelie Guichard. Reviewed at Rex 1, Paris, May 11, 2009. Running time: 89 MIN.

[Ghoul]

sjajno, imam MUTANTE na radaru skoro godinu dana, još od najave i promo-postera, a sve ovo što gore kaže ukazuje na ozbiljan slučaj triplusitisa (tj. 3+ kao verovatna ocena).
samo nek pirati budu milostivi i brzi!

[crippled_avenger]

The Descent: Part 2
(U.K.)
By LESLIE FELPERIN
A Celador Films production. (International sales: Pathe, London.) Produced by Christian Colson, Ivana Mackinnon. Executive producers, Neil Marshall, Paul Smith. Co-producer, Paul Ritchie. Directed, edited by Jon Harris. Screenplay, J. Blakeson, James McCarthy, James Watkins.

With: Shauna Macdonald, Natalie Jackson Mendoza, Krysten Cummings, Gavan O'Herlihy, Douglas Hodge, Joshua Dallas, Anna Skellern.

In an attempt to plumb the depths of fear again without appreciably lowering standards, several key talents behind cave-set cult horror-thriller "The Descent" reunite for "The Descent: Part 2," although franchise founder Neil Marshall has passed the helming baton to editor Jon Harris. Treading closely in the steps of its predecessor in every sense, the sequel has less emotional nuance, shows more of the monsters and opts this time for a less interesting coed cast instead of the all-femme crew used so effectively in the original. Nevertheless, as popcorn entertainment, it delivers, and should satisfy fans on all platforms.

Picking up just two days after the events of "The Descent," the action here returns to the scene of that pic's crimes, somewhere in the Appalachians in North Carolina. Emergency-services workers search around the entrance to the cave system where the six female spelunkers went underground. Meanwhile, Sarah (Shauna Macdonald), seemingly the last girl standing -- or crouching, to be precise -- in the earlier movie, emerges from an abandoned mine some miles away, stricken with amnesia and covered in blood.

Redneck sheriff Vaines (Gavan O'Herlihy) and his empathetic deputy Rios (Krysten Cummings) drag Sarah back underground to find the missing party, with an assist from three rescue workers (Douglas Hodge, Joshua Dallas, Anna Skellern). Unfortunately, Sarah at first doesn't remember -- but auds will -- that deep in the caves dwells a race of blind, slimy, ravenously hungry humanoids ("crawlers") who preyed on Sarah's friends first time round.

The script, credited to J. Blakeson, James McCarthy and James Watkins, soon gets the party started by separating the team so the crawlers can start picking them off one by one. Still, there are a few satisfying twists in store, which allow for exploration once more of themes of friendship, sacrifice and the ethics of survival.

Ultimately, however, "The Descent: Part 2" is much less interested in character than in delivering the same kind of suspense and shocks as its predecessor. Canny use is made of the setting's darkness, often thinly illuminated here by miners' headlamps and flashlights but just bright enough to make out from time to time a crawler inching along a wall in the background unseen by a character. (Lensing by "Descent" veteran Sam McCurdy is aces.)  Helmer Harris, who edited both the first film and this one, cuts tightly once again.

That said, the pic relies on the same tricks over and over again. Auds can just about predict to the second when, after a requisite spell of quiet, something scary will happen, so fear is generated by constantly startling rather than surprising viewers. Aiding and abetting this strategy is the sound design, which alternates whispers, tiny drips and creaky stone murmurs with huge, explosive bursts of source noise and percussive music by David Julyan (another returning talent).
More than one option

    * (Person) James McCarthy
      Carpenter, Music, Song
    * (Person) James McCarthy
      Actor
    * (Person) James McCarthy
      Medic

More than one option

    * (Person) Neil Marshall
      Director, Editor, Screenplay
    * (Person) Neil Marshall
    * (Person) Neil Marshall
      Driver, Transportation Captain

More than one option

    * (Person) Paul Smith
      Gaffer, Grip
    * (Person) Paul Smith
      Actor
    * (Person) Paul Smith
      Actor
    * (Person) Paul Smith
      Actor
    * (Person) Paul Smith
      Actor
    * (Person) Paul Smith
      Executive Producer
    * (Person) Paul Smith
      Grip, Animator, Special Effects
    * (Person) Paul Smith
      Camera, Director of Photography, Animator
    * (Person) Paul 'Sweet Pea' Smith
    * (Person) Paul Smith
      Dolly Grip
    * (Person) Paul Smith
    * (Person) Paul Smith
      Actor
    * (Person) Paul Smith
      Actor
    * (Person) Paul Smith
      Assistant Director, Production Assistant
    * (Person) Paul Smith
    * (Person) Paul Smith
      Special Thanks
    * (Person) Paul Smith
      Song, Music
    * (Person) Paul Smith
      Sound Editor, Dialogue Editor, Assistant Editor
    * (Person) Paul Smith
      Stunts
    * (Person) Paul Smith
      Art Department, Art Department Coordinator
    * (Person) Paul Smith
      Driver
    * (Person) Paul Smith
      Carpenter, Production Assistant
    * (Person) Paul Smith
      Audio
    * (Person) Paul Smith
      Post-Production Supervisor
    * (Person) Paul Smith
    * (Person) Paul Smith
      Carpenter
    * (Person) Paul Smith
      Accountant
    * (Person) paul smith
    * (Person) Paul Smith
    * (Person) Paul Smith

More than one option

    * (Person) Jon Harris
      Assistant Director, Editor
    * (Person) Jon Harris
      Construction, Rigging Electrician

More than one option

    * (Person) James Watkins
      Colorist
    * (Person) James Watkins
      Screenplay

More than one option

    * (Film) Descent
    * (Film) Descent
      2007 - Rosario Dawson, Talia Lugacy
    * (Tv) Descent

Camera (color, widescreen), Sam McCurdy; music, David Julyan; production designer, Simon Boweles; art directors, Michael Kelm, Mark Scruton; costume designer, Nancy Thompson; sound (Dolby Digital), Ivor Talbot; supervising sound editor, Danny Sheehan. Reviewed at Cannes Film Festival (market), May 15, 2009. Running time: 88 MIN.

[Son of Man]

Dzindzer, drugari, i ekipo, zamoljeva vas SIN (in contrast of SIN), da chim se pojavi neki novi horror bacite dojavu ovde, ako ne RS linkove a ono barem dojavu pa cemo se snaci, hvala unapred 

P.S. Jbga ja pratim nova izdanja samo na onom http://www.vcdquality.com/ a tamo slabo objavljuju ove horore pa tako. 

[Ghoul]

super, fino, biće lepa trojčica!

[Ghoul]

Dzindzer, drugari, i ekipo, zamoljeva vas SIN (in contrast of SIN), da chim se pojavi neki novi horror bacite dojavu ovde, ako ne RS linkove a ono barem dojavu pa cemo se snaci, hvala unapred 

sine, prati malo fabulu radnje, evo ti topik za te svrhe i ni za koje druge:
http://www.znaksagite.com/diskusije/index.php?topic=7692.0

[Son of Man]

opa najnoviji topik, alal vera, baba sera 

[crippled_avenger]

Pogledao sam novi film William Malonea PARASOMNIA. Moram priznati da je Malone jedan od onih reditlja za čiji svaki film smatram da je zanimljiv, ali da isto tako nikada nije isporučio istinski zaokruženo delo. Njegovi raniji filmovi su uvek u nekim segmentima bivali bolji od onoga što treba da budu, i to paradoksalno dovodilo do toga da izgledaju kao da su slabiji nego što su mogli da budu. Malone se uvek koristio istrošenim, poznatim matricama i unapređivao ih je svojim specifičnim vizuelnim stilom u koji je unosio dosta uticaja ekspresionizma, dosta depalmijanske iracionalnosti i generalno činio da filmovi imaju određene arty deonice.

Malone svakako nije prvi reditelj koji se upleo u horor sa idejom da ga obogati arty detaljima, ekspresionizmom, iracionalnošću, bez previše brige za priču. Međuitim, Malone je verovatno jedini iz srednje generacije američkih B-reditelja koji je tim putem išao toliko daleko, u industriji koja generalno ne toleriše tu vrstu eksperimenta. Otud je i malone sada na ničijoj zemlji, ne radi vrhunski mainstream, ne radi ni exploitation već luta pustarama indie horora.

U tom smislu, PARASOMNIA je potentno ostvarenje indie horora koje kreće iz miljea kakav je karakterističan recimu za Lucky McKeeja i odlazi u pravcu raznih ekspresionističkih elemenata i završava blizu Tim Burtona.

Naravno, Malone je mnogo visceralniji od McKeeja i od Burtona tako da već od prvog kadra i špice vidimo da je reč o radu jednog samouverenog, iskusnog i veštog reditelja kome ni kasniji indie setting ne smeta previše. Ono gde film pada to su tipične neuralgične tačke horor filmova, poput scena sa policijom koja u većini naslova ovog tipa redovno izgleda kao višak, a kada pandura igra Jeffrey Combs deluje kao manje uspeli deo filma Stuarta Gordona iz osamdesetih. Iako Maloneov film ne pledira da nudi logičnu priču, ovaj segment sa policajcima prosto ne pripada inače vrlo konzistentnom univerzumu koji je u svim drugim segmentima Malone ostvario.

Međutim, ukoliko se čovek upusti u glednje Malonea i zna šta da očekuje, PARASOMNIA mu izuzev opterećujećg plota sa policijskom istragom nudi vizeulno ekspresivan pulpy tobogan, smešten u indie parametre. Ono što međutim, običan gledalac, ljubitelj žanra ili ne, ponovo ima kao problem sa Maloneom je gde smestiti ovaj film. Naime, PARSOMNIA je suviše pulpy za indie horor, koliko god bila neozbiljna i trashy u postavci ipak nije trash, a opet svi ovi elementi ma koliko zanatski bili vešto realizovani jako su daleko od mainstreama.

PARASOMNIA je dakle još jedan Maloneov naslov koji uprkos svojoj intrigantnosti i veštini nekako ne može da nađe svoje mesto na tržištu što je štta pšošto su popred Malonea i njegovi saradnici, naročito DP Christian Sebaldt sa kojim je radio i FEARDOTCOM. Sebaldt je napravio odličnu indie fotku, sa vrlo ambicioznim rešenjima, na malom budžetu, koja sasvim funkcionišu, a veštim rukovanjem objektivima dodao je celoj priči potrebnu oniričku atmosferu pošto se film bavi pitanjima spavanja i hipnoze.

* * * / * * * *

[Milosh]

Trejler za FINAL DESTINATION 4 3D!!

http://www.aintitcool.com/node/41308

Uh, kako bih ovo voleo da vidim na velikom platnu, 3D na stranu. Prva dva filma sam gledao u bioskopu dok sam treći, verovali ili ne, pogledao premijerno na video kaseti (!) i to na videu koji se tokom gledanja non-stop kočio (long story...). James Wong i David R. Ellis se izgleda smenjuju kao reditelji, a sada je došao red na Ellisa, i videćemo hoće li uspeti da nadmaši FD2 kad je reč o jednoj od najboljih scena saobraćajne nesreće u nekom filmu ikada...

[Milosh]

[crippled_avenger]

High Lane
Vertige (France)
By JORDAN MINTZER

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A Gaumont release of a Studio Mad, Sombrero, Gaumont production, in association with Banque Populaire Images 9, with participation of Canal Plus, CineCinema, TPS Star. (International sales: Gaumont, Paris.) Produced by Alain Benguigui, Thomas Verhaeghe. Directed by Abel Ferry. Screenplay, Johanne Bernard, Louis-Paul Desanges.

With: Fanny Valette, Johan Libereau, Raphael Lenglet, Nicolas Giraud, Maud Wyler, Justin Blanckaert.

"What goes down, must come up" is the pitch behind "High Lane," a taut French chiller that swaps the spelunkers of "The Descent" for a group of reckless mountain climbers. Musicvid/commercials helmer Abel Ferry's debut feature reaches dizzying heights of suspense early on but eventually plateaus into lots of generic butchering. June 24 release soaked up mild interest in Gaul; offshore, "High Lane" will likely take the fast lane to ancillary, with some Hollywood revamp potential.

New couple Chloe (Fanny Valette) and Loic (Johan Libereau) are on a hiking/climbing trip in Croatia with their adventurous pals, Guillaume (Raphael Lenglet) and Karine (Maud Wyler). All seems well at first -- apart, that is, from Loic's paralyzing acrophobia, Guillaume's numbskull plan to follow an abandoned trail and the addition of an unwanted fifth wheel, Fred (Nicolas Giraud), who happens to be Chloe's ex-b.f. and wants to win her back at all costs.

The group's explosive tension is effectively captured from the start by d.p. Nicolas Massart's sporty, stomach-churning camerawork. It quickly reaches death-defying levels when the kids try to cross a suspension bridge that seriously needs a safety inspection.

Soon afterward, one of them gets nabbed in a bear trap, and another in a spike-laden pit -- all the work of a sadistic mountain killer with the culturally apt name of Anton (Justin Blanckaert). From then on, dripping makeup f/x take over, while the bizarre love triangle pitting Guillaume against Fred endures until the final standoff.

Writers Johanne Bernard and Louis-Paul Desanges ("Mutants," also shot by Massart) provide some interesting twists in the earlier stages and offer some late surprises involving Guillaume's fits of envy. But their handling of Anton is far from inventive, with little explanation offered beyond the fact that such characters could only exist in a place like Croatia. (The film was actually shot entirely in the French Alps and Pyrenees.)

Ferry's maneuvering of the action, especially in the mountain climbing scenes performed by the actors themselves, reveals a knack for storyboarding sequences into moments of condensed, throbbing anxiety. He's less creative when it comes to the gore, which is neither humorous nor shocking: Anton's lair resembles a rustic version of every torture chamber since Leatherface's kitchen.

The young actors ride the wave of horrors with adequate intensity. Libereau ("Cold Showers") is particularly convincing as a jealous fusspot headed for a comeuppance.
More than one option

    * (Co) Canal Plus
      Filmography, Year, Role
    * (Co) Canal Plus
      Filmography, Year, Role

Camera (color, widescreen), Nicolas Massart; editor, Soline Guyonneau; music, Jean-Pierre Taieb; production designer, Sebastien Inizan; art director, Olivier Afonso; costume designer, Benedicte Levraut; sound (Dolby Digital), Francois Sempe, Les Kouz; assistant director, Jean-Baptiste Pouilloux; casting, Aurelie Guichard. Reviewed at UGC Cine Cite Les Halles 13, Paris, June 27, 2009. Running time: 84 MIN.

[crippled_avenger]

ZMD: Zombies of Mass Destruction
By ANDREW BARKER

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A Typecast Pictures production. Produced by John Sinno. Executive producers, Ali Hamedani, Sinno. Co-executive producers, Serge Sarkis, Igor Klimenkoff, Bob Parker, Leigh Kimball, Rima Sinno. Directed by Kevin Hamedani. Screenplay, Hamedani, Ramon Isao.

With: Janette Armand, Doug Fahl, Cooper Hopkins, Russell Hodgkinson, Cornelia Moore, James Mesher, Bill Johns, Ali Hamedani.

"ZMD: Zombies of Mass Destruction" is part of a rare breed: a horror-comedy that's actually consistently funny and occasionally almost scary. Unbelievably violent even by zombie-movie standards, the film is nonetheless weirdly good-natured and often quite clever, and reps a promising start for debut director-scripter Kevin Hamedani. Though it's a bit too roughly hewn to have much theatrical life, the film should get plenty of play in its natural habitat -- on DVD and at midnight screenings near college campuses.

Heavily indebted to George Romero (as any good zombie film ought to be), "ZMD" uses the familiar genre trappings to satirize homophobia and the jingoism and xenophobia that flourished around the beginning of the Iraq War. These subjects are so exhausted that they can barely be roused for the ribbing, so it's fortunate that the film opts to tackle them through twisted humor rather than through preaching or heavy-handed symbolism.

Set in the conservative island community of Fort Gamble, Wash., in 2003, the film offers parallel stories of two outcast residents: Frida (Janette Armand), an Iranian college student coping with the community's suspicions that she's a terrorist, and Tom (Doug Fahl), a gay businessman reluctantly returning to town with his boyfriend (Cooper Hopkins) to come out to his mother.

Come nightfall, a wave of lurching zombies descends on the scene, and small-town prejudices come to the fore. The redneck contingent suspects Middle Eastern terrorism, while the bingo-loving churchgoers are certain the gays are somehow to blame, and the two protags are forced to make allies of the hostile townfolk to survive the onslaught. The targets here are easy ones, the stereotypes stale and unfair, but somehow it all works more often than not.

The early going is a little slow, but once the action starts, pic hits its stride and offers a steady stream of sharp jokes and gruesome setpieces (a truly shocking sight gag early on indicates the filmmakers are game for just about anything). Director Hamedani proves impressively capable of conveying total apocalypse on a budget, as well as maintaining a light, cartoonish tone through increasingly horrific mayhem.

Bloody, old-school special effects are very ably and cleverly pulled off, and the score nods to the Moog-heavy music of the pic's late-'70s inspirations.

Camera (color), John Guleserian; editor, Andrew McAllister; music, Andrew Rohrmann; production designer, Theresa Avram; art director, Bilal Hibri; costume designer, Rhiannon Hemsted; sound designer, Scott Colburn; special effects, Tom Devlin; line producers, Cheryl Cowan, Daniel Thorton; assistant director, Ben Dobyns. Reviewed at Los Angeles Film Festival (Guilty Pleasures), June 25, 2009. Running time: 92 MIN.

[Meho Krljic]

Hm, ja sam taj strip skidao al nisam čitao baš zato što mi nije delovao dovoljno smešno... valja proveriti u svetlu ovakvih reagovanja na film.

[Ghoul]

"sadistic mountain killer with the culturally apt name of Anton"
=od milja - ANTE!

ali otkud hrvatima planine za veranje od ove sorte?

[Milosh]

Vernova kritika za "It's Alive" rimejk:

http://www.aintitcool.com/node/41671

Man, anybody notice they do alot of remakes these days? Seems like it anyway. I'd have to research it a little more to be sure. This is the remake of Larry Cohen's 1974 killer baby picture. I thought it was supposed to play in theaters, but that's because I didn't know it was from the DTV kings at Millennium Pictures and Josef Rusnak, director of ART OF WAR II: BETRAYAL and THE CONTRACTOR. This one unfortunately doesn't star Wesley Snipes, but instead Bijou Phillips as the mother of the killer baby.

In this version she's a graduate student under some pressure to not have the baby so that she doesn't screw up her education and throw away a career she's been working toward. But she makes the decision to leave school to give birth and live with her boyfriend and the disabled younger brother he's raising. The baby grows unusually fast so she has to have a forced birth.

She's drugged up for her C-section and when she wakes up the operating room is covered in blood and dead bodies, which is not how it's supposed to look. Also the baby is pretty big for a preemie. We the viewers can guess that the baby is the culprit, but understandably the characters don't jump to the same conclusion. You don't just go around pointing fingers at a newborn. In my experience you want to be absolutely sure that the baby really committed the massacre before making a serious accusation like that.

So Bijou and her boyfriend set out to deal with a difficult birth - they just don't know how difficult. At first the dead animals they find around the house don't seem to be connected to the baby. It's a while before mommy catches baby eating a rat, and even longer before she has to hide the bodies of her dead friends.

I wonder if maybe there should've been more of a whodunit mystery kind of thing here. Like maybe there should've been a couple other baby characters in the movie and you're not sure which baby it is doing the killing until it's revealed at the end. I don't know. Maybe not.

Original IT'S ALIVE writer/director Larry Cohen is credited as one of three writers on the remake. That's because he tried to do the remake himself, so I guess at some point he left or got dumped and they rewrote his script. According to interviews he planned to deal with advances in genetics and the dangers of parents wanting to abort their baby because they find out its disabled in some way, or even gay. That would've been a reasonable new thing to add into the mix, but it's not in the final remake. There's something about an attempt to abort the baby that can be interpreted as the reason for the mutation, or why the baby is angry, but I don't think it's meant as an anti-abortion parable considering how the baby turns out. If ever there was a baby to want to abort it would be this little fucker.

Anyway, this has the usual remake problem of needlessness. I'm not sure why you need to remake it. The original might be dated, but in an interesting way. It has things to say about the time it was made. This one maybe says a little less. Despite that, for me (I like the original, but don't love it or remember everything about it) the remake is an enjoyable experience, a solid little horror movie that treats a ridiculous premise with admirable seriousness. Other than the ambiguous abortion thing I mentioned there's no hint at why the baby is this way, because it doesn't really matter. They don't even once mention "the environment." Instead the movie is interested in the fears of parenting: is she ready to be a mother, is he ready to be a father, or a husband, will she have to give up her life plans, will it be worth giving up her life plans, is the younger brother gonna be okay with it, is the baby normal? And the guilt of having been unsure about the pregnancy. And most of this stuff you get to read on their faces, they don't have a bunch of stupid dialogue to explain what they're feeling or that the mother - who is more the central figure than she was in the original - is having trouble weighing "he's my son and I love him unconditionally" against "oh shit, my baby keeps mauling people."

Like in the original they keep the baby mostly out of sight, off screen, in blankets or shadows. With maybe one sharp-toothed exception the money shots are subtle and creepy. There's a scene in the basement where the baby slowly crawls out from around a corner and stares. But he's across the room and in shadows, you have to squint to get a look at him. But he looks real.

Also like the original the killings are really over the top. You're not seeing little Daniel, but you sure are seeing blood cover the windows and walls. He just tears people apart with his little monster baby teeth and claws or whatever he has. And it's funny because he's a baby, a human baby (to some extent). And I think that's why this is DTV. It's better than some horror movies that get a theatrical release, but I bet they're right if they think today's audiences would laugh it off the screen. Back in the '70s the trailers for these movies made kids shit their beds, but now they probaly think killer babies are funny. People now days got no appreciation for the outlandish and the absurd. They think because it's crazy that means it's bad. They haven't seen the original so they haven't seen something like this before. They're not ready. They can't take it. They're too literal, too square, too anti-killer baby. So fuck 'em.

Of course, the people who can appreciate a killer baby movie have most likely seen the original IT'S ALIVE movies, and aren't looking for an update. But if they are it's due October 6th. I say just because this remake was an accident doesn't mean we can't appreciate the creepy scene where the father traps the baby in a garbage can and takes it out in the woods and loads his gun while otherworldly wailing echoes from inside. It was unwanted, but that doesn't mean it's not beautiful in God's eyes. As far as DTV movies go.

--Vern

[Milosh]

http://www.aintitcool.com/node/41709



"The DVD/BD will hit stores this October (exact street date TBD). The first image above will be on the cardboard cover, while the spooky second pic will be on the actual case."

[crippled_avenger]

Orphan
By TODD MCCARTHY

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'Orphan'
'Orphan'
A Warner Bros. release presented in association with Dark Castle Entertainment of an Appian Way production. Produced by Joel Silver, Susan Downey, Jennifer Davisson Killoran, Leonardo DiCaprio. Executive producers, Steve Richards, Don Carmody, Michael Ireland. Co-producers, Richard Mirisch, David Barrett, Erik Olsen, Dr. Carl Woebcken, Christoph Fisser, Henning Molfenter. Directed by Jaume Collet-Serra. Screenplay, David Leslie Johnson; story, Alex Mace.

Kate Coleman - Vera Farmiga
John Coleman - Peter Sarsgaard
Esther - Isabelle Fuhrman
Sister Abigail - CCH Pounder
Daniel Coleman - Jimmy Bennett
Dr. Browning - Margo Martindale
Dr. Varava - Karel Roden
Max Coleman - Aryana Engineer
Grandma Barbara - Rosemary Dunsmore

Teasingly enjoyable rubbish through the first hour, "Orphan" becomes genuine trash during its protracted second half. This "Bad Seed" rehash about an adopted Russian girl who deliberately foments mayhem in an upscale family is intent on getting a rise out of the audience and does so, but mostly in the wrong ways. Fine actors, fancy production values and attempts to invest horror with extra depth create a classy patina, and the ultimate "reveal" is a lulu not to be tipped off, but it's all just too absurd to keep riding with it. Adoption advocates are justifiably fearful about pic's possibly negative impact on their business, but Warner Bros. has little to fear from this eminently promotable item where its coffers are concerned.

For a while, it looks as though writer David Leslie Johnson, working from a story by Alex Mace, and director Jaume Collet-Serra, whose unnecessary 2005 "House of Wax" didn't deny him a second shot with WB and producer Joel Silver, might actually be able to add a fresh layer of credible emotion and psychology to a predictable premise. Nightmarish opening depicts the feverish recollection by Kate Coleman (Vera Farmiga) of the stillborn birth of her third child, an event that soon leads to her decision to adopt a girl.

Kate has some issues, notably a drinking problem that prevented her from rescuing her little daughter Max (the adorable Aryana Engineer) from an accident that caused her to go deaf. Latter condition is worked into the story in a number of clever ways -- much hinges on things that are overheard, lips that are read, signs that are picked up, or not -- and is a key factor in the relationship the girl has with her mother and her new "sister."

Kate and passively supportive husband John (Peter Sarsgaard), the source of whose obviously lucrative income is never mentioned, find their chosen one at an orphanage run by Sister Abigail (CCH Pounder), who can barely contain her surprise and delight at Esther (Isabelle Fuhrman) being taken off her hands. A prim, polite 9-year-old who paints well and speaks beautifully, albeit with a slight accent, the sallow-faced, black-haired Esther dresses like Little Bo Peep, carries a tattered Bible and warns, "I guess I'm different." Like any good liberal mom, Kate replies, "Well, there's nothing wrong with being different, you know." Right.

Ensconced in the family's Architectural Digest home on a hill (pic was shot in snowy Quebec), Esther makes an ally of little Max but is loathed by cusping adolescent son Daniel (Jimmy Bennett). By contrast, her attitude about John is ambiguous; the newcomer has an uncanny knack of turning up whenever the parents try to keep their sex life in gear, first (and hilariously) in the kitchen, then in bed, where the thunder-frightened girl sidles up against the naked man just moments after he's been thunderclapping his wife.

Things go from weird to worse until something entirely untoward happens to sweet Sister Abigail. The percolating air of expectation and nervous humor gets sucked right out of the movie when the first act of explicit violence takes place, turning the film from a rollicking bit of leg-pulling to a grim exercise in methodically applied terror, as Esther goes on a carefully plotted rampage.

Although Kate, who becomes ostracized from her family for being the only one who believes the girl is evil, aggressively tries to unearth the little devil's birth and early life records, Esther's dirty secret is well kept until the big moment, which ranks with "The Crying Game" in its surprise quotient. This juices the film for a few minutes, but then follow not one, not two but three battles to the death, each more preposterous than the last. It's also one of those movies in which a revolver is fired seven times.

Through it all, the cast members perform heroically, as if believing they're actually in a good film. Farmiga expresses a hundred nuances of love, rage, self-confidence and doubt as the beleaguered wife and mother, while Sarsgaard smoothly invests the outwardly mild husband with hints of a very slippery character. All three kids are terrific. Fuhrman makes Esther calmly beyond reproach even when faced with monumental evidence against her, and has the requisite great evil eye. Bennett is highly sympathetic as the encroached-upon boy who picks up on Esther's bad vibes long before anyone else, while Engineer is a dream.

Tech credits are strong, and John Ottman's off-center score helps significantly in creating a sense of unease.

Camera (Technicolor), Jeff Cutter; editor, Tim Alverson; music, John Ottman; production designer, Tom Meyer; art directors, Pierre Perrault, Patrick Banister; set designers, Martin Gagne, Viorel Indres, Raymond Larose, Vincent Gingras-Liberali, Amy Bell; set decorators, Daniel Hamelin, Martine Giguere-Kazemirchuk, David Laramy, Cal Louks; costume designer, Antoinette Messam; sound (Dolby Digital/SDDS/DTS), Patrick Rousseau; supervising sound editor, Frederick Howard; re-recording mixers, Ron Bartlett, D.M. Hemphill; visual effects supervisor, Richard Yuricich; visual effects, Lola VFX, Image Engine, Pacific Art & Title; stunt coordinator, Brian Jagersky; associate producers, Aaron Auch, Ethan Erwin, Stacey Fields, Sarah Meyer; assistant directors, Pedro Gandol, Greg Zenon; second unit directors, David Barrett, Javier Aguilera; second unit camera, Michele Laliberte; casting, Ronnie Yeskel. Reviewed at Chinese 6, Los Angeles, July 21, 2009. MPAA Rating: R. Running time: 123 MIN.

[Alec]

http://www.youtube.com/watch?v=tEw_qaFCk94

[Alec]

http://www.youtube.com/watch?v=5N9ELKYxJ9Q

[Milosh]

JOE DANTE's THE HOLE



Joe Dante And Mr. Beaks Tumble Down THE HOLE (In 3-D)! Also Discussed: "Dante's Inferno" At The New Beverly!

http://www.aintitcool.com/node/41944

Mr. Beaks: Though you recently directed two episodes of MASTERS OF HORROR, this is basically your first horror feature in some time. Did you find yourself attacking the genre any differently.

Joe Dante: Believe it or not, I do tell my agent, "You know, if the next picture wasn't a horror picture, that would be okay." But somehow when you gain proficiency at something, that's what they want you to do. So I do read a lot of horror scripts, but I frankly don't find many that are [interesting]. This one [by Mark L. Smith] was different because, from the first time I opened it up and started reading it, I liked the characters. I thought, "This is well-written! This is a well-made script!" Believe it or not, and I know this is very hard to believe, but a lot of horror scripts are not well-written. So I went in for a meeting, and talked to these people, and gave them my ideas. Obviously, they were talking to other people, but they finally decided to go with me. And I suggested that the picture might be enhanced if we shot it in 3-D. I expected to be laughed out of the room, but they thought about it and said, "That's actually not a bad idea." Now we're doing it in post, and... it's added some money, but not an incredible amount. I think it's really upped the picture three notches at least.

Beaks: Are you doing many comin'-at-ya gags, or are you mostly trying to immerse the audience in the environment.

Dante: I think the way the new 3-D works is that you do feel immersed, and that you do feel involved with the characters. Of course, you need things to break the frame and come out at the audience because a) it's expected, and b) it's hard to avoid. Even in real life: things do that. The trick is "What is it?" If it's a sharp-pointed object, it doesn't work because your eye doesn't converge it correctly. So there are rules to what works and what doesn't work. And I've already done a 3-D movie for Busch Gardens, a ride called "Haunted Lighthouse". So I've already had some experience. And I've seen all of the 3-D movies more than once. But you learn as you go: there are rules you can break, and there are rules you can't break - otherwise the audience will get cross-eyed. So we staged the movie much like a regular movie, although it's a little different because you're consciously aware of the spatial relationship of the characters and how that impacts the scene dramatically.

Beaks: Even with all of the advances in 3-D, I still see DIAL 'M' FOR MURDER as the one that makes the best use of the process.

Dante: It's my favorite. There are two scenes that stick out at you, and the rest of it is all about placing people within the frame. It's a stage play. I had been watching the film in 2-D for years, but when I finally watched it in 3-D again a few years ago, I was really impressed with how Hitchcock used 3-D - which was kind of an avant-garde thing for him to do. Then again, this was the guy who wanted to make a film in one take. He was always experimenting. And I bring a little of that to this. I always cite [DIAL 'M' FOR MURDER] as the one people should look at if they want to figure out how to do 3-D.

Beaks: It feels like you're sitting on the stage as the play happens around you.

Dante: Right! There's a chair here, and somebody back there, and a lamp here, and there's just something about it that makes you feel like you're up on stage with the actors instead of looking through a window. We used a few of those techniques, although it's very hard to do. On a normal movie, you just get a disc and show it to your DP and say, "Here, I like this." But where the hell are they running DIAL 'M' FOR MURDER in 3-D anymore? It's not like you can just call it up.

Beaks: Every now and then the American Cinematheque does a big 3-D festival with all of the movies.

Dante: And I'm a part of that. They did it twice, and I think Jeff Joseph, who is behind it, is hoping to do one more. There are two or three pictures that haven't been rescued yet, and they're hoping to uncover them and hold another festival.

Beaks: Do you pay homage to any of those vintage 3-D films in THE HOLE?

Dante: There are some homages that astute fans will spot. But they're not particularly 3-D homages; they're just things I like, and directors I like, that I pay homage to. I don't do it consciously; it just happens.

Beaks: It's been interesting to see certain critics vociferously defend you over the years. Jonathan Rosenbaum, in particular.

Dante: Yes, Jonathan has been very loyal. When they defend THE 'BURBS, that's when I know they're serious.

Beaks: There are plenty of good reasons to defend THE 'BURBS.

Dante: Well, I'm running THE 'BURBS at The New Beverly!

Beaks: I know! And I'm very excited because I was out of town the last time you did a festival at The New Beverly.

Dante: Oh, well, you've got to see THE MOVIE ORGY.

Beaks: And you're doing a six-hour version of THE MOVIE ORGY this time?

Dante: Yes.

Beaks: Whenever I try to explain THE MOVIE ORGY to people, I fail miserably.

Dante: It's impossible. I tried to explain it to the audience before I ran it and realized I was getting nowhere. But once it was over, they got it. I was worried that it was too dated, that they weren't going to get the references because it was so specific to the time. But general, cumulative stupidity works on them to the point where they can [understand] the whole thing.

Beaks: It's just pieced together from a life of watching movies?

Dante: It started out with a bunch of movies I had - clips from movies from some rental library that went out of business. I spliced them all together on reels with commercials and pieces of TV shows. And then we'd rent a movie, run about twenty minutes of the movie... [Appropriately, this is where the volume in the room overwhelmed my recorder. The precise secrets of THE MOVIE ORGY shall not be revealed.] But then we realized we couldn't keep renting these movies; it was too expensive. So we bought the movies, cut them up, and ended up making this one single cut which has eleven reels or whatever. And we'd take it around to colleges, and Schlitz Beer would give us money. It paid my way through Roger Corman. Otherwise, I couldn't have afforded to work with him.

Beaks: (Laughing) When did this process start?

Dante: There was a BATMAN serial released in 1966, which was the 1943 serial. They released the entire serial, and we saw the whole thing in one sitting with chapter endings and the credits again... all that stuff. It was this monumental sit. People would laugh. They'd boo the producer and cheer the director, and I thought, "This is really interesting, this mass hysteria that happens when people sit in a movie theater for a really long time." That was really the basic idea of doing it. So the first one I did was with the Bela Lugosi serial THE PHANTOM CREEPS. We rented the serial and spliced all of this stuff into it. It was very funny and people liked it, and it evolved over the years into this very popular campus thing where we'd travel all over the country with it. They would sell beer, people would pass out, and it was... phenomenal.

Beaks: If people start getting excited after reading about The New Beverly screenings, do you think you might try to take it out on the road again?

Dante: I can't. I don't own any of it. I don't know what half of the stuff is. Some of them are clips from movies I've never seen. And the amount of time it would take a lawyer to clear all of the clips in this thing... it wouldn't be worth it. The only way we get away with running it is by running it for free. It's never going to get released commercially.

Beaks: I was just thinking that you could announce you're running a series of Joe Dante movies and then spring THE MOVIE ORGY on them.

Dante: I just can't charge admission. I guess The New Beverly makes enough money from the concession stand that they're happy to run it.

Beaks: Of your films, GREMLINS is always the title that comes up as a probable candidate for a remake.

Dante: If they're remaking DROP DEAD FRED, they're going to remake GREMLINS.

Beaks: And they'll probably just CG the Gremlins.

Dante: No one knows what they're going to do. They don't know what they're going to do. Otherwise, it would've happened by now. But that's what happened with the sequel: they tried to make a sequel, but realized they couldn't figure out how the other movie worked. So they said, "Get that guy back, and let him do what he wants." They did, and it was great to do whatever I wanted. It was a parody of sequels. Their only problem was that they waited six years to make a sequel - and they spent $30 million instead of $11 million.

Beaks: And opened against DICK TRACY.

Dante: There are a lot of reasons why it wasn't more successful. But it's popular. People like it.

Beaks: I think GREMLINS 2 is pretty much the ultimate Joe Dante movie in that so much is stuffed in that movie, you're finding new gags on your fourth or fifth viewing.

Dante: It's my MAD MAGAZINE movie. There are doodles in the margin. It's HELLZAPOPPIN', which is one of my favorite movies. I was very lucky to make it.

Beaks: When you see a guy like Rosenbaum teasing out all of the themes in your films, do you--

Dante: All filmmakers feel this way. It's nice to be able to have someone look at your stuff and say, "Hey, there's a pattern here! This guy's actually saying something." Very few filmmakers sit down and intellectualize about putting all of these things in their films. They come from your psyche, your id, and of course they're consistent because if you are able to stamp you personality onto a movie - which is difficult - then those things are all part of your personality and, therefore, part of your movie. It's only when you're going movie to movie and tossing them off that you don't get that kind of resonance. You can't do that with all directors.

Beaks: I just know that all of my favorite filmmakers have that element of design whether they're conscious of it or not.

Dante: Sometimes it's just seeing the same actors or the same locations over and over.

Beaks: So where are we going to find Robert Picardo or Dick Miller in THE HOLE?

Dante: You will find two Dante regulars, and everybody else is kids. It's a very small cast. And it was shot in Vancouver, so it was very hard to bring some of the actors up there. You're shooting up in Canada to save money, and part of that is using Canadian actors. But there is [a scene] that's shot in L.A.

Beaks: What's the status of BAT OUT OF HELL.

Dante: I have no idea what the status is on BAT OUT OF HELL. I don't know if the financing ever really came through. Right now, it is on the back burner.

[Ghoul]

What You Don't See
Was Du nicht siehst (Germany)
By RONNIE SCHEIB

A Lichtblick Film & Fernsehproduktion (Germany) production, in co-production with Stalker Film. (International sales: Lichtblick Film, Cologne.) Produced by Joachim Ortmanns. Co-producer, Igor Orovac. Directed, written by Wolfgang Fischer.

With: Ludwig Trepte, Frederick Lau, Alice Dwyer, Bibiana Beglau, Andreas Patton.
 
The eerie woods and fantastic rock formations of the Brittany Coast form a primordial mindscape for a sensitive adolescent grappling with his father's suicide and his mother's new boyfriend in "What You Don't See," tyro Austrian scribe-helmer Wolfgang Fischer's impressive psychological thriller. A constant sense of menace hangs over the seaside house the family has rented, the presence of a strange teenage couple sending events sliding more deeply into the sinister. Vaguely reminiscent of Francois Ozon's "See the Sea," compatriot Michael Haneke's "Cache" or even David Twohy's "A Perfect Getaway," this atmospheric chiller has a genuine shot at international distribution.
Anton (Ludwig Trepte) has stayed at boarding school since his father's death, and this vacation is meant to bring him closer to his mom, Luiza (Bibiana Beglau), and her b.f., Paul (Andreas Patton). But kith and kin cannot hold a candle to the fascination exerted by bad boy David (Frederick Lau) and his sexy g.f./sister, Katja (Alice Dwyer), amoral free spirits who seem to represent everything Anton is not.
Locked in an incestuous relationship they do nothing to hide, the siblings alternately mock and befriend Anton. David, feeding off Anton's hidden desires, urges him toward violence, while vulnerable-seeming Katja casts friendlier sexual lures.
Tramping through the countryside or gathered around the leaf-strewn pool in the neighboring house that ostensibly belongs to David and Katja, the three soon become inseparable.
Fischer never deals in gimmicky reversals or surprise revelations, relying more on dream logic and spellbinding locations to escalate the atmosphere of dread. Auds may figure out the secret behind the "Turn of the Screw"-like ambiguity of the couple, who interact with no one but Anton, but any "aha!" oversimplification pales before the mesmerizing sweep of the landscapes and the relentless certainty of the camera.
Thesping is dead-on: Lau exudes an aura of sexual danger far beyond his years, while Dwyer's Katja manages a mix of innocence and sensuality that is curiously touching. Trepte, whose boyish, unformed quality seems much in demand of late, brings the perfect degree of defiant pliability to his quietly disturbed teen.
Projected in 35mm on a giant screen, Martin Gschlacht's widescreen lensing belies its humble HD beginnings with stunning interplays of mist, light and shadow.
Camera (color, widescreen HD-to-35mm), Martin Gschlacht; editor, Isabel Meier; music, Wilhelm Stegmeier; production designer, Sebastian Soukup; art director, Juliette Percheron; costume designer, Annegret Stossel; sound (Dolby Digital), William Franck; supervising sound editor, Florian Kaltenegger; sound designer, Kaltenegger, Emil Klotzsch; casting, Susanne Ritter. Reviewed at Montreal World Film Festival (First Films -- competing), Aug. 30, 2009. Running time: 92 MIN.

[crippled_avenger]

The Horde
La Horde (France)
By DEREK ELLEY


A Le Pacte release of a Capture (the Flag) Films, Le Pacte production, in association with Coficup, Backup Films. (International sales: Films Distribution, Paris.) Produced by Raphael Rocher. Directed by Yannick Dahan, Benjamin Rocher. Screenplay, Arnaud Bordas, Dahan, Stephane Moissakis, Rocher.

With: Claude Perron, Jean-Pierre Martins, Eriq Ebouaney, Aurelien Recoing, Doudou Masta, Antoine Oppenheim, Jose Prestia, Yves Pignot, Laurent Demianoff, Sebastien Peres, Alain Figlarz.

"Subtext be damned" is the clarion call of Gaul's first zombie movie, "The Horde," which keeps the pedal pretty close to the metal throughout. Professionally assembled on a tight $3 million budget by debuting feature directors Yannick Dahan and Benjamin Rocher, this high-grunge item makes the most of its limited sets, as cops and criminals are forced to work together in a tower block invaded by the undead. Minimal character development starts to work against the movie as the bodies pile up, but genre addicts should respond in fast playoff and on ancillary.

Hard-nosed Paris cop Franck Jimenez (Aurelien Recoing) discovers the bound and tortured corpse of a colleague, Mathias Rivoallan. At Rivoallan's funeral, various tensions are set up between his four colleagues: tough female cop Aurore (Claude Perron), who shagged him; Franck, who knows it; and Ouessem (Jean-Pierre Martins) and Tony (Antoine Oppenheim). Rivoallan's widow makes the four cops promise to kill the gangsters who murdered her husband.

That's about it for character setup, as the quartet set out to the northern suburbs to find the Markudis, holed up in some dreary-looking projects due for demolition. Before you can say "ambush," the unlikable, corrupt foursome are caught by the equally unlikable Markudis, led by big, black psychopath Adewale (Eriq Ebouaney) and his mad brother Bola (Doudou Masta).

However, when a slobbering masked zombie bursts through the door of the apartment, chaos ensues. The surviving three cops and three gangsters make it to the roof, from where Paris is seen ablaze and hordes of the undead are headed for the high-rise. The six sensibly call an uneasy truce to fight their way down to the ground floor.

Apart from the splitting of the group, and the introduction at the midway point of a crazy old survivor, Rene (Yves Pignot), there's little variation during the rest of the movie, as zombies are blown away or fought hand-to-hand in dingy corridors.

Action choreography by Alain Figlarz (who cameos as the caretaker) is fine, trimly edited by Dimitri Amar. At least one setpiece, an explosive bitch fight between Aurore and a female zombie, is memorable.

However, the main protags hardly register in the pauses between the violence. Only Pignot, as crusty Vietnam vet Rene, adds some character ballast.

Camera (color, widescreen, HD-to-35mm), Julien Meurice; editor, Dimitri Amar; music, Christopher Lennertz; art director, Jeremie Streliski; costume designer, Priscilla van Sprengel; sound (Dolby Digital), Francois Loubeyre; special effects supervisor, Olivier Junquet; visual effects supervisor, Sebastien Dostie; action choreographer, Alain Figlarz; assistant director, Paul-Henry Belin; casting, Michael Laguens. Reviewed at Venice Film Festival (Venice Days), Sept. 5, 2009. Running time: 97 MIN.

[crippled_avenger]

The Loved Ones
(Australia)
By DENNIS HARVEY

   
A Screen Australia presentation, in association with Omnilab Media, Melbourne Intl. Film Festival Premiere Fund and Film Victoria, of an Ambiance Entertainment production. (International sales: Ambiance Entertainment, East Sydney.) Produced by Mark Lazarus, Michael Boughen. Executive producers, Christopher Mapp, Matthew Street, David Whealy, Bruce Menzies. Directed, written by Sean Byrne.

With: Xavier Samuel, Robin McLeavy, John Brumpton, Richard Wilson, Victoria Thaine, Jessica McNamee.

A nice addition to the annals of twisted Ozzie horror, Sean Byrne's debut feature, "The Loved Ones," transcends mere torture porn -- though there's plenty for the squeamish to squirm over here -- in its deftly controlled mix of empathy, grotesquerie and sardonic humor. Tale of a kidnapped high schooler in high extremis is probably too small and specialized for offshore theatrical interest but should win a fanbase through midnight fest slots and DVD release.

Young Brent (Xavier Samuel) masochistically exercises guilt over his father's recent death by car crash (Brent was behind the wheel). His troubles are about to get a lot worse, however. He's tonight's "guest" at the country cabin inhabited by classmate Lola (Robin McLeavy), whose school dance invite he just politely declined. A monster of vindictive self-absorption (Kasey Chambers' cloying why-me pop hit "Not Pretty Enough" is Lola's anthem), she does not take rejection well; Daddy (John Brumpton) assists in tormenting her uncooperative crush objects. While the material sometimes looks a bit thin for feature length, the final reel's fresh conceptual/staging outrages fully satisfy. Mostly unknown thesps and modest production values are very skillfully handled.


Camera (color), Simon Chapman; editor, Andy Canny; music, Ollie Olsen; production designer, Robert Webb. Reviewed at Toronto Film Festival (Midnight Madness), Sept. 12, 2009. Running time: 84 MIN.

[Mark]

Samo me Put zanima (The Road)


PUT

Otac i sin kroz spaljenu Ameriku koračaju prema obali. U opustošenom predelu ništa se ne pomera sem pepela na vetru. Nemaju ništa osim jednog pištolja kojim se brane od ljudi duž puta, odeće na sebi, kolica nađene hrane i jedan drugog. Uprkos svemu, PUT je roman o nežnosti. Zastrašujuć i lep. Govori o nama, o onom najlepšemi i najgorem u ljudskom biću.







Ova post-apokaliptična priča obuhvata period od nekoliko meseci. Amerika, kao i ceo svet, je uništena neimenovanom katstrofom kataklizmičkih razmera. Nakon tog svojevrsnog "kraja sveta", pustom zemljom bez biosfere lutaju preživeli ljudi koji su se ili okrenuli kanibalizmu ili posvetili traženju ostataka preostale hrane. Protagonisti ovog, samo naizgled, romana strave i užasa, neimenovani otac i sin pešače prema američkoj istočnoj obali u potrazi za civilizacijom. Oni sami sebe vide kao čuvare vatre humanizma, njihovo putovanje tako dobija jednu širu i višu dimenziju od pukog preživljavanja. Preživljavanje i nalaženje smisla za dalju borbu ipak postaju sve teži i teži, ali bezizlaznost i očajanje doprinose jačem povezivanju između oca i sina koji vremenom postaju ceo svet jedan drugome ("each the other's world entire"). Odlučnost da ostanu živi uprkos svemu (njihova majka je izvrsila samoubistvo par godina ranije) postaje očaravajući prikaz božanske težine i složenosti ljudske egzistencije. Putovanje u potrazi za civilizovanim životom postaje način održanja individualnih života protagonista kao i potraga za njegovim post-apokaliptičnim smislom.

Put je od kritike prihvaćen sa oduševljenjem, opisivan i kao "heartbreaking, haunting, and emotionally shattering."



"Those last 15 pages I was weeping. I can't remember when a book last had that effect on me. It's so violent, that he could creep into this incredibly sentimental story, housed in such unforgiving terrain."

Nick Cave

Kao pisac dela od izuzetnog značaja za ekološki pokret, Makarti je uključen među "50 ljudi koji bi mogli spasiti planetu." Navodi se i to da bi ovo mogla biti najznačajnija ekološka knjiga ikada. Ona predstavlja "eksperiment u kojem se zamišlja svet bez biosfere i prikazuje nam činjenicu da je sve što nam je vredno zavisi od ekosistema".

Kormak Makarti (Cormac McCarthy) je rođen 1933. godine kao Čarls Makarti. Prvu knjigu, The Orchard Keeper, je objavio 1965. Više puta nagrađivan pisac koga američka književna kritika svrstava među najveće žive američke pisce. Porede ga sa Foknerom i Melvilom. Njegov roman NEMA ZEMLJE ZA STARCE je prošle godine adaptiran u istoimeni film braće Koen koji je zaradio oskara za najbolji film godine. Za roman PUT, Makarti je nagrađen Pulicerovom nagradom za 2007. godinu.

Ove godine sledi i filmska adaptacija koja je vec mesecima na mnogim "most anticipated" listama. Režija je poverena Džonu Hilkoutu (režirao je australijski vestern The Proposition). Glavne uloge će tumačiti Vigo Mertensen, Šarliz Teron, Gaj Pirs, Robert Duval i Kodi Smit Mekfi. Muziku je odradio Nik Kejv. Film je zavrsen i trenutno je u postprodukciji. Naveći problem je postalo pitanje da li će medžor studio hteti da pošalje u bioskope film sa tako mračnom pričom ("... it could be, if not dull, then just a relentless downer of a movie"), MGM je odustao od distribucije i film je trenutno u rukama braće Vajnstajn. Pojavile su se i prve recenzije koje su jako pozitivne ("I have a feeling that when this movie finally hits it'll be a big deal")...

Potražite Put!

[Ghoul]

HENIFERS BADI je jedan žešće ishajpovan i prehvaljen filmić.
mnogo buke ni oko čega posebnog.
**(*)
3-

[Milosh]

HENIFERS BADI je jedan žešće ishajpovan i prehvaljen filmić.

Hm, pa i nije nešto hvaljen, bar ja to nisam primetio, a 3- je ocena koju sam otprilike i očekivao. No, i pored toga ću ga najverovatnije overiti u bioskopu...

[Tex Murphy]

Hm, mene samo zanima da li se u tom filmu Jennifer's Body vidi Jennifer's BODY.

[Ghoul]

ne vidi se.

ali vidi se dovoljno da ta henifer čak i NEMA DUPE.

[Tex Murphy]

ne vidi se.

ali vidi se dovoljno da ta henifer čak i NEMA DUPE.

Heh, dođavola, to je sasvim savršena preporuka za negledanje filma. Unless... ako nisi planirao da pišeš rivju za blog, možda bi to mogao da uradi neko od tvojih potčinjenih, npr. ja?