Cop Out

[Mark]

Tu je trejler!!! Film stize u februaru ...


http://www.youtube.com/watch?v=BpCimRyZ04Y


Cop Out is an upcoming 2010 buddy cop comedy film written by brothers Mark Cullen and Robb Cullen and directed by Kevin Smith. The film stars Bruce Willis and Tracy Morgan.

Two veteran cops (Willis and Morgan) are tracking down a stolen vintage baseball card. On the chase, they rescue Gabriela (Ana de la Reguera), dealing with gangsters and their money laundering.

[Mark]

S obzirom da ovo nije kompletno Smitov film, nadajmo se da ce bolje proci nego Jersey Girl...

[Lord Kufer]

Porch donkey  

[Mark]

Pravi tatko se vratio.

[Mark]

Porch donkey 

Porch MONKEY 4 life!

[Lord Kufer]

Biće to dobar film iako mu je trejler glup i prepun idiotskih zvukova...

[Mark]

A i vreme je da se akcioni buddy movie vrati u bioskope ...

[Lord Kufer]

I žene koje vrište 

[crippled_avenger]

Citao sam scenario jos u vreme kad se zvao COUPLE OF DICKS. Nadu da ce biti kompetentno  daje mi pozicija Davida Ellisa kao second unit director.

[crippled_avenger]

 
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Kevin Smith on why 'A Couple of Dicks' became 'Cop Out'
by Adam B. Vary
Categories: Film, Movie Biz, News
The new trailer for the upcoming buddy cop comedy Cop Out just hit the internet, but anyone who had been following the project knows the film, out February 26, 2010, had long gone by a more distinctive title: A Couple of Dicks. Fortunately, the film has an even more distinctive director: Kevin Smith, the famously profane indie film hero (Clerks, Chasing Amy, Dogma, Zack and Miri Make a Porno) making his debut as a director of a script he did not write himself. Smith was more than happy to give EW his frank perspective on how A Couple of Dicks became Cop Out — in a nutshell, blame the networks.

Kevin Smith: Look, losing A Couple of Dicks was almost akin to losing my own dick. It was a perfect buddy-cop movie comedy title. Everyone knew it. You couldn't say that title to somebody without a f—ing smile crossing their face. But what I had gone through with Zack and Miri Make a Porno — "porno" had become very problematic, it became tough for us to advertise [the film], blah blah blah. Warner Bros. decided, "Hey man, we'll call the networks and see if we're going to get any problems [with A Couple of Dicks as a title], months before the movie's ever going to come out." The top 3 networks — CBS, ABC, NBC — said we can't run one of your spots before 9 o'clock.

I'm like, "Well what about Inglourious Basterds?" And I guess, because of the spelling, they got away with it. So we were like, "Can we call it A Couple of D.I.C.s?" Because that's the proper acronym for detectives, Detective In Charge. And [the networks] kicked that back as well. It was the pluralizing of any form of dick, whether it was d-i-c-k or any derivation.

So my feeling was like, it's an R-rated movie, so who the f— are we talking to anyway before 9 o'clock? Warner Bros's feeling was like, "Hey man, we have to advertise to the sports audience on Saturday and Sunday and all those sporting events usually take place before 9 p.m. in the evening." At which point, I was like, "Oh wow, you guys are way smarter than me."

All credit due to Warner Bros., they tried really f—ing hard to score that title. It just came down to a point blank choice of run a campaign where you're not going to be able to advertise on the big three networks before 9 o'clock, or run a campaign where there are no hindrances. I came from a world where you play the ball where it lays. If I hadn't gone through Zack and Miri Make a Porno, I think I would have gotten my old-school f—ing angry indie spirit, if you will: "F— it, we live or die by A Couple of Dicks, or I take my name off the picture!" But even my mom was like, "I might go see Zack and Miri, but I would never go see Zack and Miri Make a Porno." I feel like Chief Brody in Jaws 2: I've seen the shark up close. I ain't going through that hell again.

And I've got a lot of people online, on Twitter especially, going, "Don't lose this fight! Don't let them change it!" And it's like, "Dude, it's not my call." All these people online seem to think I have the almighty juice. I got no juice. I made Jersey Girl. I can't pull any f—ing strings.

So for months now, they've always had A Couple of Cops as kind of this fallback thing — a placeholder, essentially. And then all of a sudden, one of the producers of the movie was like, "Hey they're locking the title, because the trailer is going to be put on Sherlock Holmes." And I was like, "This is an abundance of wonderful and horrible information." I want to be on Sherlock Holmes because everyone on the planet will probably go see it on Christmas, but I don't want it to be A Couple of Cops. That just seems like we didn't even try! We went from a really clever title to the least clever title of all time. I was like, "God that title is going to feel like such a f—ing cop out." And [the producer] goes, "We should just call the movie that."

I liked it because it sounds like exactly what we set out to be: An '80s buddy cop movie, without sounding like Loaded Weapon, or some such s—. But more importantly, to me, the title tells the story of what happened to our other title. I think it's kind of ironic. It's win-win. For 100 percent of the potential audience for this movie, I would say 0.5 percent knows that we were once called A Couple of Dicks. After they read this article, maybe you could bump it up to 0.75 percent. The rest of the potential audience, they have no idea what this movie used to be called. For them it will always be Cop Out. They'll just never know that there was that one magical moment where it was called A Couple of Dicks. We were making up sequel titles in our heads, dude. Like, you know, Two Bigger Dicks. Or Dicks 2: It Just Got Harder.

Somebody online said you could take Cop Out and vary it with like, "Rock out with your Cop Out!" Hopefully that will be a tagline on a poster or a trailer. And if it is, we owe that random dude on Twitter like at least a few free passes.

(Warner Bros. had no comment on the title change.)

[Mark]

Amerikanci su jako osetljiv narod. Ako je nesto upropastilo Zack and Miri Make a Porno na blagajni, to je sigurno rec PORNO.

Da, i ja se nadam da je Cop Out pocetak jedne nove fransize...

[crippled_avenger]

Cop Out
By ANDREW BARKER

   
A Warner Bros. release of a Marc Platt production. Produced by Platt, Polly Johnsen, Michael Tadross. Executive producers, Adam Siegel, Robb Cullen, Mark Cullen. Directed, edited by Kevin Smith. Screenplay, Robb Cullen, Mark Cullen.

Jimmy - Bruce Willis
Paul - Tracy Morgan
Mangold - Adam Brody
Hunsaker - Kevin Pollack
Gabriela - Ana de la Reguera
Poh Boy - Guillermo Diaz
Ava - Michelle Trachtenberg
Dave - Seann William Scott
Roy - Jason Lee
Capt. Romans - Sean Cullen

Great buddy comedies are often built upon the tension between two wildly dissimilar personalities, thrust together by fate and forced to adapt to one another. In the case of "Cop Out," however, there's precious little of that tension to be found between co-leads Bruce Willis and Tracy Morgan, but more than enough between director Kevin Smith and the shoddy script he's elected to take on, and neither seems willing to budge. This comic policier will likely notch decent returns for Warner Bros. on the strength of its cast and paucity of its weekend competition, though longterm prospects look dubious.

"Cop Out" marks indie hero Smith's first attempt to direct a script he did not write and given the absence of his garrulous dialogue and sweetly obscene sensibilities, the shortcomings of his craft are made all the more apparent. Smith's directorial style is far too slack for this material, which aims to be an homage to populist '80s classics like "48 Hrs." and "Lethal Weapon," but only winds up resembling one of the bargain-bin knockoffs that floundered in those films' wake.

Though hardly Smith's finest hour, the pic is perhaps most regrettable to the extent that it blows its chance to offer wild-man comic Morgan a film vehicle worthy of his anarchic appeal. Here, he stars as Paul, a manic detective who, for unexplained reasons, spends a good portion of the film wiping snot from his nose, drooling and crying -- one wonders if this was Morgan's small form of Brando-esque protest against the material he was given -- and who is partnered with Jimmy (Willis), a grizzled officer whose entire character description seems to have been "Bruce Willis-ish."

The film opens with an interrogation and subsequent stakeout that the partners botch, consequently getting themselves suspended by their hard-ass, by-the-book chief (Sean Cullen). The two are unfazed by the setback, though Jimmy soon confronts a dilemma that does engage him -- his daughter is set to be married, and his ex-wife's smarmy new husband (Jason Lee) is hoping to usurp Jimmy's paterfamilias bona fides by offering to pay for the extravagant wedding himself.

To raise funds for the wedding, Jimmy attempts to sell a particularly rare baseball card, only to be robbed. He recruits Paul (who, in a wafer-thin subplot, suspects his wife of cheating) to help him recover the card, and this quickly leads them into the orbit of a baseball-loving Mexican drug smuggler (Guillermo Diaz), who's pursuing a missing car (containing info that will allow him to expand his operation) as well as the mistress of a rival (Ana de la Reguera).

The police action here is boilerplate stuff -- despite Smith's encyclopedic knowledge of genre conventions, he refrains from offering any personal spin on them -- but the comedic setpieces have all the hallmarks of directionless, unsupervised improv. In a painfully overextended sequence, Paul and Jimmy arrest a drugged-out burglar (Seann William Scott) who begins pestering Paul by loudly talking over him and repeating his every word, and then telling a long, unfunny knock-knock joke. Such behavior will be familiar to anyone who's ever been around a particularly bratty 6-year-old, and most of them will wonder why they've just paid good money to see a film with similar sensibilities.

Morgan, Lee and bit-parter Adam Brody are all inherently funny, watchable actors, yet none of them find a gag worth selling in Robb and Mark Cullen's script. Willis is gifted a few moments in which to work his still-considerable charm, though most of the time he seems vaguely distracted, if not irritated.

Production values are hit-and-miss: While the action sequences are competently assembled, a few of the pic's punchlines and snatches of expository dialogue are rendered incomprehensible through muddy sound and editing.

Camera (color), David Klein; music, Harold Faltermeyer; production designer, Michael Shaw; art directors, Jordan Jacobs, Jonathan Arkin; set decorator, Chryss Hionis; costume designer, Juliet Polcsa; sound (Dolby Digital/DTS/SDDS), James J, Sabat; sound designer/supervising sound editor, Tim Chau; re-recording mixers, Chau, Tim LeBlanc; special effects coordinator, Jeff Brink; stunt coordinator, Jery Hewitt; associate producer, Raymond Quinlan; assistant director, Michael Pitt; second unit director, David R. Ellis; casting, Jennifer Euston. Reviewed at Warner Bros. Studios, Burbank, Feb. 22, 2010. MPAA Rating: R. Running time: 113 MIN.

[crippled_avenger]

Cliché-Filled It Just Might Work!
Comments (2) By Karina Longworth Tuesday, Feb 23 2010

Cop Out establishes its movie lineage right away, with a slow-motion toe-to-head tilt up, set to the Beastie Boys' "No Sleep 'Til Brooklyn," of black-cop/white-cop buddies Jimmy and Paul swaggering stone-faced toward the camera. Director/editor Kevin Smith (who notably didn't write the Cop Out script; this is the Clerks auteur's first feature-length work for hire) immortalizes his heroes as stock crime-flick badasses in their very first frame.

So far, so middling—until Smith complicates matters by following that shot with an opening sequence that sends Cop Out swerving into smarter territory: Determined to prove his bad-cop "acting" chops to a skeptical Jimmy (Bruce Willis), Paul (Tracy Morgan) interrogates a perp by subjecting him to an unrelenting marathon of movie character impersonations. Beginning with Al Pacino in Heat and moving, logically, through In the Heat of the Night and Training Day, Paul's "homage" (which he pronounces "homm-ige") eventually jumps off the rails. Jimmy, on the other side of the interrogation-room glass, can only gape at his partner's increasingly non sequitur charade: "Dirty Dancing? Star Wars? Everything on cable?!?"
It’s a guy thing: Morgan and Willis
Warner Bros. Pictures/Abbot Genser
It's a guy thing: Morgan and Willis
Details
Cop Out
Directed by Kevin Smith
Warner Bros.
Opens February 26
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And so Cop Out announces itself as both loving "homage" to "everything on cable"—particularly '80s action comedies, referenced most directly by Harold Faltermeyer's cheap synth score and an honest-to-goodness plot song (called "Soul Brothers" and sung by Patti LaBelle)—and a sly subversion of genre. It's a movie that shamelessly trafficks in the clichés of other cop movies, while also engaging both characters and audience in the spectator sport of catching references to those very movies. Cop Out only works as well as it does—and it works exponentially better than it should—because the movie-trivia game is played smirk-free, with palpable joy from everyone involved.

Jimmy, a swinging-dick career NYPD cop threatened by his ex-wife's young, rich new husband (Jason Lee), tries to sell a priceless, long-treasured baseball card so he can pick up the tab for his daughter's wedding. That plan immediately goes horribly awry, thanks to interventions from Seann William Scott and the scene-swiping Guillermo Diaz as a textbook Mexican movie gangster with a baseball obsession. Jimmy and Paul have no choice but to Break All the Rules.

The plot is almost an afterthought, an obvious MacGuffin intended to steamroll a path for the charisma and chemistry of the two leads. Morgan has been brutally undervalued for his work on the otherwise heavily awarded NBC series 30 Rock, possibly because it's assumed that the incorrigible comedian he plays is just a riff on himself. In Cop Out, unchained from the temporal constraints and standards and practices of network TV and, according to the press notes, given free rein to improvise, Morgan of course works broad and blue, but he really surprises with his timing and self-control. There are comic set pieces in Cop Out that play out at a snail's pace, turning awkward and uncomfortable for long stretches in order to build toward a big funny, and Morgan not only hangs on, but steers. Willis's main order of business is to stay cool and look good—to provide a solid backboard for Morgan's delirious lunacy—and this he does well.

Like most of Smith's movies, from Clerks to Jay and Silent Bob Strike Back to Zach and Miri Make a Porno, Cop Out tracks a small arc of maturation for dudes who filter their own lives through popular culture. There was a sincere love letter to the transformative power of filmmaking baked into Porno, but its impact was diluted by what felt like strained overtures to the Apatow audience. On the contrary, Cop Out works as a love letter to film fandom, and, amid the ample violence and genitalia jokes, its strength is its sincerity. Working with a full-on studio budget for the first time in his decade-and-a-half career, Smith is still making movies about guys just like him. It may be masturbatory, but it's also some kind of creative integrity.

[Meho Krljic]

Želimo da verujemo.

[crippled_avenger]

Mislim da je Variety negativan zato što misli da cela priča nema jak poslovni potencijal ali mi nismo in it for the money. Mene jedino brine Smith. Scenario je bio dobar i u rukama pouzdanog reditelja tu ne bi bilo greške. E sad, ako je Smith pustio samoupravljanje kod glumaca, onda ko zna...

[Mark]

... E sad, ako je Smith pustio samoupravljanje kod glumaca, onda ko zna...

Pric'o je Smit da je nemoguce kontrolisati Vilisa na setu. Plus, ovaj cesto ima neke ideje oko scena... Mada to je pricao u vezi snimanja Die Hard-a IV.

[crippled_avenger]

Cop Out

BY ROGER EBERT / February 24, 2010

   

Cast & Credits
Jimmy Monroe Bruce Willis
Paul Hodges Tracy Morgan
Dave Seann William Scott
Hunsaker Kevin Pollak
Barry Adam Brody
Ava Michelle Trachtenberg

Warner Bros. presents a film directed by Kevin Smith. Written by Robb and Mark Cullen. Running time: 110 minutes. Rated R (for pervasive language including sexual references, violence and brief sexuality).

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Jimmy and Paul are cops hunkered down across the street from a stakeout when they see a mysterious figure run across rooftops and break into a house. Seconds later, he can clearly be seen in an upper window, sitting on a toilet and reading a magazine. "What kind of a guy breaks into a house and takes a crap?" asks Paul, or words to that effect.

Paul explains he always delays this elementary function until he gets home. He's not relaxed until then. But once he's home -- ooohhh boy! Then he lets loose. He describes the results in great detail. The walls, the ceilings. All right! I'm thinking, all right, already! I got it! Mudslide! Paul isn't finished. Now he's talking about the reaction of the neighbors.

How do you know this is a scene from a Kevin Smith film? The imitation of a 9-year-old describing bodily functions might be a clue. But the clincher is when that mysterious guy runs across the rooftops. Paul (Tracy Morgan) explains to his partner Jimmy (Bruce Willis): "That's known as parkour. It's a new martial art."

Well, thanks, Paul. I didn't know that until yesterday, when it was explained in "District 13: Ultimatum." What synchronicity. That other movie co-stars the man who gave parkour its name. The movie is filled with it. I suspect its presence as a brief walk-on in "Cop Out" can be explained this way: Kevin found out about it, thought it was cool and slipped in a little quick parkour for fun.

If you combine the enthusiasms of a geek with the toilet humor of a third grader, you'll be pretty close to defining the art of Kevin Smith. Hey, I'm not complaining. If we lose our inner third grader, we begin to die. When the muse visits him, Smith gets inspired and makes fun movies like "Zack and Miri Make a Porno." Alas, "Cop Out" is not one of those movies. With his clueless cop, Tracy Morgan is forced to go way over the top; Bruce Willis seems eager to have a long, sad talk with his agent, and Kevin Pollak, who gets co-star billing, does at least appear for longer than a quark at Fermilab.

"Cop Out" tells your standard idiotic story about buddy cops who screw up, get suspended by the captain and redeem themselves by overthrowing a drug operation while searching for the valuable baseball card Jimmy wants to sell to pay for his daughter's wedding. Paul spends an unreasonable amount of time dressed as a cell phone, considering there is nothing to prevent him from taking it off.

A lot of the dialogue is intended as funny, but man, is it lame. Many of the gags possibly looked good on paper, but watching Willis and Morgan struggle with them is like watching third graders do Noel Coward, if Noel Coward had been rewritten by Kevin Smith.

Years ago, at St. Joseph's Boys' Camp, there was this Chicago kid named Bob Calvano who was naturally hilarious around the campfire every night. Then I'd get up and flop with my memorized bits from Buddy Hackett records. "Ebert," he advised me kindly, "it isn't funny if you act like it's supposed to be funny. Act like you don't know." All I can do is pass along Calvano's advice.

[Meho Krljic]

Dobro Ebert piše i sad sam zabrinut.

[crippled_avenger]

It's 1993 all over again.

Melster i Bruno mere kome je duži na BO rekreirajući svoje poznate persone i reklo bi se da će COP OUT edgeoutovati EDGE OF DARKNESS sudeći po prvom danu...

[Mark]

Sad ja ne znam da li je to zbog Southwest airlines incidenta, ili Brusa Vilisa, ali se film za sada drzi sasvim pristojno na blagajni ...

[Milosh]

Cop Out R6 LINE XVID-PrisM

Ako neko pogleda u međuvremenu neka javi koliko je loš...

[Kler_Vojant]

uzasno los. kevin smith at its lowest. clerks 2 su u odnosu na ovo sekspir.

[Mark]

uzasno los. kevin smith at its lowest. clerks 2 su u odnosu na ovo sekspir.

Slazem se da ovo nije bas sjajan film.

Ali kao neki cop out - ovo nije pisao Kevin Smit! A koristiti Kevina Smita samo kao rezisera nema previse smisla...

Evo bice uskoro Red State (horor!) koji ce prema najavama Smit sam finansirati, pa ce valjda biti bolje...

[Milosh]

The Other Guys deluje kao bolja verzija Cop Outa:

http://movies.yahoo.com/movie/1810116447/video/19060028

[Milosh]

Uf, počeo sam da gledam Cop Out i već nakon desetak minuta ovo je toliko glupo, nesmešno i nesnosno da razmišljam da prekinem gledanje i obrišem film...

[crippled_avenger]

Ja se upravo spremam da počnem...

[crippled_avenger]

Pogledao sam COP OUT Kevina Smitha. To mi je bio jedan od najočekivanijih filmova godine iako od samog filma nisam previše očekivao.

U sklopu industrijske špijunaže, pročitao sam scenario Robba i Marca Cullena i taj tekst je na mene ostavio solidan utisak. Bio je to pismen i sasvim artikulisan buddy cop flma koji je aproprirao sve tradicije ovog podžanra, dodajući im izvesne aspekte žanrovske samosveti pre svega kroz uzimanje u obzir teorije o homoerotskoj dimenziji odnosa među junacima u buddy cop filmu. To preplitanje teorijskih postavki koje se smatraju konvencionalnim i same žanrovske prekse nije novo u ovom podžanru i najbolji primer toga je Edgar Wrightov HOT FUZZ.

Ono što je od njihovog scenarija ostalo netaknuto jeste sam zaplet i upravo je ta mehanika razvoja priče neštop što je adut ovog filma krajnje preopterećenog glumačkim samoupravljanjem.

Bruce Willis se već naizgovarao provokativnih one-linera u MOONLIGHTINGu tako da je on ovde u underplayu. Seann William Scott je isto tako prilično miran ako imamo na umu rarzuzdanu glumu koju je Kevin Smith dopustio. Međutim, Willisov buddy u filmu Tracy Morgan je nepodnošljivo agresivan i on je nosilac većine problema ovog filma. Svi njegovi pokušaji humora, imitacije, monologa, one-linera su upadljivo nesmešni i kad god je u sceni fokus na njemu, film se zaustavi.

One-lineri, i to često u iritantnom modusu su obeležje buddy cop filma od samih njegovih korena u filmovima FREEBIE AND THE BEAN i BUSTING pa sve do rada Shane Blacka koji u KISS KISS BANG BANG čak i namerno insistira na iritantnoj količini one-linera koji su tu svesno plasirani i na svu sreću jako su uspeli i duhoviti. Nezavisno od toga da li je isti postupak primenjen u COP OUTu ili ne, ali u njemu humor ne funkcioniše i po tom aspektu više podseća na dekadentnije buddy cop naslove poput BULLETPROOFa Ernie Dickersona ili LETHAL WEAPON 4.

Ono što je, međutim, neočekivani adut filma jeste sama inscenacija koja dosta podseća na krimiće i čini se da je iskusni David R. Ellis kao reditelj druge ekipe uradio dobar posao da COP OUT približi žanru. Čak su i dramske scene režirane uz upotrebu objektiva i planova koji se koriste u trilerima.

Što se dizajna tiče, film vrlo simpatično izgleda, goonovi su sasvim u redu a Willis je u punoj formi. Naročit detalj je dizajn zvuka oslonjen na soundtrack koji je mešavina skora legendarnog Morodervog asistenta i učenika Haralda Faltermayera koji je pisao čuvene teme za BEVERLY HILLS COP i 80s cop flickove poput TANGO & CASH ili FATAL BEAUTY kao i velikih hitova osamdesetih i devedesetih. Između ostalih, film otvara Beastie Boys himna NO SLEEP TILL BROOKLYN koja je krasila soundtrack za film OUT FOR JUSTICE sa Stevenom Seagalom.

Akcionih scena nema puno, ali one koje su prisutne deluju vrlo pristojno, i to se od Kevina Smitha nije očekivalo. Zapravo, Smith je ponajviše podbacio upravo u onome što je trebalo da mu bude adut a to je humor.

Prava je šteta što COP OUT nije bolji i što u montaži nije istaknuta Willisova možda već dosta puta viđena ali efikasna persona već je u igri ostala Morganova zaista preagresivna i potpuno neuspela kreacija.

COP OUT nije bio koncipiran kao dekonstrukcija Willisove cop persone, i ovo nije SHOOTIST za tu vrstu likova, iako su porodični odnosi u priči svakako sledeća faza onih uspostavljenih u osamdesetim, u smislu da policajčeva ćerka više u pubertetu a on rasteruje momke nego je sad već pred udajom koju otac podržava.

BAD BOYS 2 ostaje savremeni standard za ovu vrstu prljavog buddy cop fima a jedan od atributa koji se ne mogu osporiti COP OUTu jeste to da je pun neukusnog humora i samim tim izuzetno prljav. Reč je o propuštenoj prilici koja je oslonjena na žanr zahvaljujući kome ovaj konkretan naslov ostaje gledljiv a sporadično i zabavan.

* * 1/2 / * * * *

[Will-O'-The-Wisp]

Kakav promašaj! Jedva sam izdržao do kraja. U načelu, slažem se sa Kriplovim zamjerkama, samo ono na čemu on zamjera meni je nepodnošljivo.

Tracy Morgan je ponudio najiritantnijeg crnju-buddyja još od Norrisovog Hellbound. Kad god je on u kadru - ili dernja se iz off-a - film je negledljiv. (A čini se da je i Willis ovo igrao preko one rabote; valjda ga morili neki real-life problemi kao Snipesa u Blade: Trinity, pa samo pozira.) Morganovo pretjerivanje je kontrolisano, pa tim i simpatično, u 30 Rock, ali ovo je glumetanje kakvo odavno nisam vidio na filmu.

Što je najgore, Smith je potpuno upropastio skript braće Cullen, likova koji su napisali jako interesantnu seriju Heist. Dakle, nije problem u skriptu - koji je zapravo jako pismen i dovoljno po-mo da uspije - već u Smithu koji konstantno stavlja akcenat na pogrešne stvari.

Jedino što valja je retro soundtrack totalno u stilu Harolda F-a.

[crippled_avenger]

Zaista je neverovatno glupa odluka da se COP OUT prepusti Kevinu Smithu jer nikada takve filmove nisu radili reditelji specijalizovani za komediju već obično oni koji rade triler i akciju. Međutim, budžet od 30ak miliona je dokaz da je Warner nekako i tempirao ovaj film da bude komedija a ne da bude akcija, i nažalost Smith je dosta rezilijentan kreten čiji je rok trajanja odavno prošao a on je i dalje tu. Najtužnije od svega je što su oni mislili da uzimajući Smitha rade apsolutno pravu stvar, da film dobija naročitu klasu zahvaljujući tome.

Ipak, ono što je recimo meni interesantno jeste to da film ne pati od one nezgodne mešavine tipa red komedije-red akcije, nego je film dosta stilski ujednačen. Sve je snimljeno u istom ključu. Plašim se recimo da OTHER GUYS neće imati tu koherentnost.

[ivica]

Pogledao sam film i mogu reći da mi se svideo. Ako nekog zanima, može da pročita i zašto to mislim na http://www.tvprogram-i-film.com/2010/04/18/cop-out/

[Le Samourai]

Shto reche moja geograficharka iz srednje - jad i bed!

Auh, nisam mnogo ochekivao, ali chak ni tu crkavicu nisam dobio. Ja sam tradicionalno veliki Kevin Smit apologeta; meni je i Jersey Girl bio dobar, ali ovo je vec sramotno loshe.

Morganu bi trebalo zakonom zabraniti da glumi bilo gde van dotiranog mu 30% vremena u 30 Rocku.

[crippled_avenger]

Sada sa GOOD GUYSima u etru, COP OUT čak gubi i svoju nostalgičnu dimenziju za adikte.

[Le Samourai]

Apsolutno.

[Mark]

Sada sa GOOD GUYSima u etru, COP OUT čak gubi i svoju nostalgičnu dimenziju za adikte.

Mislis OTHER GUYS?

http://www.imdb.com/title/tt1386588/

[crippled_avenger]

Mislim na seriju THE GOOD GUYS...

[ginger toxiqo 2 gafotas]

Cop Out DVDRip XviD-ARROW