CIVIL.10

07 Sep 1996 - 03 Sep 1998

Messages - film

film.1 mnikolic,
26. maja 1896. godine, po starom kalendaru, beogradski dnevni list "Male novine" objavio je sledeću vest o prvoj filmskoj projekciji kod nas: "Od danas će u gostionici kod Zlatnog krsta na Terazijama g. Ogist i Luj Limijer iz Lijona (Francuska) prikazivati najveći i skoro neverovatni uspeh u fotografiji. To je takozvano, 'oživljeno' fotografisanje pomoću kinematografa. Tu će se moći videti snimci stvorova i predmeta u najrazličitijim kretanjima: videće se pokreti kako dete igra, pokreti koje čini železnički voz kad ide, i to sve tako živo predstavljeno, da vam se čini kao da gledate stvarnost, a ne fotografije. Beograđani ne treba da propuste ovu priliku da vide ovaj doista najveći uspeh, a ulazna je cena od osobe jedan dinar. Početak je svakog dana u 4 sah. popodne i traje do 9 sah. uveče, a nedeljom i praznicima ima prikazivanja i pre podne." Od te vesti stare preko stotinu godina suština se nije nimalo promenila. Doživljaj posmatranja pokretnih slika u zamračenoj sali bioskopa ostao je po mnogo čemu jedinstven i nenadmašan. A svaki takav doživljaj biće potpun tek kada sa nekim o filmu porazgovarate, tek kada o njemu date svoj sud. Pre ili kasnije, svaki film koji ste gledali naći će mesto u nekoj vašoj priči; direktno ili indirektno, nije važno, ali je neizbežno jer to je njegova magična moć. Filmovi ne mogu menjati život, ali će ga stalno beležiti i o njemu maštati na najneverovatnije načine. U slavu tog fenomena postoji i ova tema koju ćete, nadamo se, sa zadovoljstvom posećivati.
film.2 mikis,
Tuesday October 1 8:21 AM EDT REVIEW/FILM: Yugoslav Film Makes Stunning Anti-War Statement Pretty Villages, Pretty Flames (War comedy-drama, Yugoslav, Color, 2:08) By Emanuel Levy MONTREAL (Variety) - Wilder in its black humor than "MASH", bolder in its vision of politics and the military than any movie Stanley Kubrick has made, the new Yugoslav film "Pretty Villages, Pretty Flames" is one of the most audacious antiwar statements ever committed to the bigscreen. Centering on Bosnia's brutal conflict between Serbs and Muslims, the film boasts an ironic wit about the absurdities of war. An adventurous distributor should grab this eccentric film that, bolstered by strong reviews and properly handled, could become one of the high points of the cinematic year, making a stir in big cities, university towns and, of course, the specialized circuit. The first -- and final -- image of "Pretty Villages, Pretty Flames" shows the inauguration of a new Brotherhood and Unity tunnel by smiling American and European officials. Utilizing a multilayered narrative, with time frame constantly -- but seamlessly -- shifting between 1980 and 1992, the tale focuses on a group of Serbian soldiers trapped by their Muslim enemies in the aforementioned tunnel, which connects Zagreb and Belgrade, and bears symbolic meanings that are just as crucial as its geographical significance. The picture is loosely based on a true incident, a 10-day bloody standoff in which Muslims couldn't enter and Serbs couldn't exit the tunnel. With a nod to Fellini, the tunnel is used as a circus-like stage for the desperate soldiers to act out fables -- and foibles -- before they get killed, one by one. In sensibility, "Pretty Villages, Pretty Flames" embodies elements of Jean Paul Sartre's existentialism as well as Samuel Beckett's absurdist humanism. These seriocomic visions are applied to a situation familiar from other war movies -- fighting soldiers stranded in a confined space -- though never before depicted so brazenly, in a manner that's equal parts heartbreak and hilarity. In 1980, two young boys, Halil, a Muslim, and Milan, a Serb, have grown up together near a deserted tunnel. They never dare go inside, as they believe an ogre resides there. Twelve years later, with war looming over Bosnia, Milan (Dragan Bjelogric) and Halil (Nikola Pejakovic), now mature men, find themselves on opposing sides, fatefully heading toward confrontation. Helmer Srdjan Dragojevic shows in shocking images how drunken Serbian militiamen destroy Muslim villages and their inhabitants, and cart away truckloads of loot. In one poignant scene, undisciplined Serbian soldiers burn a Muslim home and coldbloodedly execute its elderly owner. Upon completing the brutality, a soldier turns to his companion and says, "They say war brings out the best and the worst in a man. Where is the best?" The scene is an example of how tightly the antiwar message is woven into the fabric of this film. The helmer's strategy is dialectical juxtaposition. Images of bloody carnage are contrasted with ostentatious statements about Serbian nationalism. Indeed, after hearing bombastically fake speeches, young men volunteer to fight in the war, buying from street vendors royalist insignia that they proudly pin on their uniforms. And scenes in a hospital, to which both Serbian and Muslim casualties are brought, are intercut with combat scenes, which are the film's strongest elements. Both dramatic tension and black humor are greatly enhanced when an American journalist is caught and held captive by the Serbs. The edgy conversations between the beautiful woman and the horny men cover a wide range of topics, from Coca-Cola and American TV to the more familiar battle of the sexes and the universal needs of human beings during war. In one particularly searing scene, all barriers are removed when unbearable thirst forces the men and the woman to drink a fellow's urine. Another episode has a soldier asking for a tender embrace from the femme, to which she consents, only to observe, a moment later, the man blowing his brains out. Director Dragojevic shows great facility in varying scenes' tones from brutal to ironic to lyrical -- often in a matter of seconds. "Pretty Villages, Pretty Flames" is by no means perfect. The central premise of two buddies whose bond is threatened by divisive politics is a bit schematic for the movie's ambitious scope, and some sequences in the tunnel and the hospital are overlong. But the emotional texture is so powerful and the technical execution so impressive that these flaws are minor beside the picture's overall impact. Production values are first-rate: The visuals are bold, editing fluid, tempo well modulated and music terrific. Reportedly breaking all box office records in Belgrade, where it opened in June, "Pretty Villages, Pretty Flames" deserves to be seen by large audiences in other countries. With: Dragan Bjelogric, Nikola Kojo, Velimir-Bata Zivojinovic, Dragan Maksimovic, Zoran Cvijanovic, Nikola Pejakovic, Lisa Mancure. A Cobra Film production in association with MCRS and RTS. Produced by Goran Bjelogric, Dragan Bjelogric, Nikola Kojo. Executive producer, Milko Josifov. Directed by Srdjan Dragojevic. Screenplay, Vanja Bulic, Dragojevic. Camera (color), Dusan Joksimovic; editor, Petar Markovic; music, Laza Ristovski, Aleksander Habic; production design, Mile Jeremic; costume design, Tanja Dragojevic; sound, Svetolik Mica Zajc. Reviewed at Montreal World Film Festival, Aug. 26, 1996. Reuters/Variety
film.3 vitez.koja,
Pa, da nastavimo sa onim scenarijima... Jurassic Park First Draft by MICHAEL CRICHTON Re-write by MARIA SCOTCH MARMO 3/14/92 sk jurassic.zip
film.4 vitez.koja,
This is Spinal Tap transcript sk spinal.zip
film.5 vitez.koja,
FRIDAY THE 13TH SCRIPT Written by Victor Miller Transcribed by Matthew Head, mzhead@music.cc.uga.edu sk friday13.zip
film.6 vitez.koja,
My So-Called Life (transkript, sve epizode) + Taken from Version 1.2 (the latest version) of the MSCL bible, and posted for your edification. Er, enlightenment. heck, just f.y.i. BTW, AOL people should save this as a text file and try viewing it with one of them nifty non-proportional fonts so all the tabs are lined up. Just so it looks purty. -virany 5. THE SO-CALLED EPISODES This is my meager attempt at providing a short episode guide for reference. Guest star appearances have been omitted for the sake of space-saving. I'd recommend trying Dave Chapman's far superior episode guide (see the fans section later on). But in the meantime... Except where noted, MSCL airs on ABC Thursdays at 8 p.m. PST/EST and at 7 p.m. CDT. Episode Air Date Title Writer Director Note ---------------------------------------------------------------------------- 1.1 08-25-94 My So-Called Life (Pilot) WH SW 1.2 09-01-94 Dancing in the Dark WH SW 1.3 09-08-94 Guns and Gossip JT MH *1 1.4 09-15-94 Father Figures WH MR 1.5 09-22-94 The Zit BT VD *2 1.6 09-29-94 The Substitute JK ESP 1.7 10-06-94 Why Jordan Can't Read LG MP 1.8 10-20-94 Strangers in the House JG RL *3 1.9 10-27-94 Halloween JG MP *4 1.10 11-04-94 Other People's Daughters RK CW *5 1.11 11-11-94 Life of Brian JK TH *6 1.12 11-18-94 Self-Esteem WH ME 1.13 12-01-94 Pressure EH MP *7 1.14 12-08-94 On the Wagon EG JP 1.15 12-22-94 So-Called Angel WH&JK SW *8 * WRITERS: WH = Winnie Holzman; JT = Justin Tanner; BT = Betsy Thomas; JK = Jason Katims; LG = Liberty Godshall; JG = Jill Gordon; RK = Richard Kramer; EH = Ellen Herman; EG = Elizabeth Gill; * DIRECTORS: SW = Scott Winant; MH = Marshall Herskovitz; MR = Mark Rosner; VD = Victor DuBois; ESP = Ellen S. Pressman; MP = Piznarski; RL = Ron Lagomarsino; CW = Claudia Weill; TH = Todd Holland; ME = Michael Engler; JP = Jeff Perry Notes: 1. In some areas of the country, MSCL was pre-empted due to coverage of an airplane crash in Pittsburgh. The episode was subsequently broadcast on a "special night" -- Tuesday, 10-04-94, at 10 p.m. (normally the spot for "NYPD Blue"). Incidentally, this Tuesday showing earned MSCL its highest ratings to date. 2. This episode is the only one so far that has had end credits deviating from the usual white credits on black. Instead, we get footage of Angela, Rayanne, and Rickie clowning around with Patty's dress. 3. This episode was supposed to air on Oct. 13th, but at the last minute was unexpectedly pre-empted for the 2-hour season premiere of "Matlock." 4. This is the first of the episodes shot months after the first batch. Note Jared's changed hairdo and Danielle's growth spurt. 5. The exec producer end credits are black on white for this one. 6. Only one (so far?) narrated by a character other than Angela. 7. Pre-empted on Thanksgiving Thursday (11-25-94) for a two-hour MacGyver movie called "Trail to Doomsday." 8. Pre-empted on 12-15 for a special tribute to Elvis (thank you, thank you very much). This "special episode" has no opening theme song, no voice-over, and no b&w exec. end-credits. 9. Pre-empted on 12-29 for a special tribute to Lassie, that b- er, lovable mutt we all supposedly grew up with. *** Mini-summaries *** 1.1 Welcome to Angela Chase's so-called life. Angela dyes her hair a shade of "Crimson glow", upsetting the status quo of her seemingly picture-perfect teenage existence. 1.2 Rayanne arranges for Jordan to sell Angela a fake ID, while Patty and Graham stumble through ballroom-dancing lessons meant to re-spice their marriage. 1.3 A gunshot in the hallway and a rumor about Angela and Jordan send ripples through the Liberty High School community. 1.4 Angela gives Graham the "silent contempt" treatment while Patty must deal with her own father when both the Grateful Dead and the IRS come to town. 1.5 In this episode on image and self-image, Angela's zit, Patty's face, Sharon's hooters, and Rayanne's slut potential are all under scrutiny when a sophomoric list on the sophomore girls coincides with the Annual Mother-Daughter Fashion Show. 1.6 An unconventional substitute teacher temporarily turns Angela's English class into a Dead Poets Society and causes a stir when he takes over the school's literary magazine. 1.7 Angela and Jordan get close when she learns of his reading problem, and closer when she hears his new song. Back on the ranch, Patty and Graham cope with possible pregnancy. 1.8 Angela's relationship with Sharon and Graham's job dissatisfaction both hit critical levels when Sharon's father has a heart attack. 1.9 Halloween rolls into Three Rivers, blurring the line between facades and realities. 1.10 Angela is entranced by Rayanne's hip hippie mom, while Patty gets the daughter treatment from her own mother. 1.11 Everyone's love life gets screwed up by the school World Happiness Dance. 1.12 Jordan won't acknowledge his new relationship with Angela, Graham starts his cooking classes, and a new teacher invites Rickie to join the drama club. 1.13 Angela considers sleeping with Jordan, while Graham considers starting his own restaurant. 1.14 Feeling left out of Angela's life, Rayanne becomes lead singer of the Frozen Embryos. Meanwhile, Patty thinks Rayanne has started drinking again, and can't decide if she should meddle with Amber's mothering. 1.15 Christmas in Three Rivers finds Rickie out on the street after a fight with his abusive uncle. Angela, aided by a mysterious homeless girl with an angelic voice and a guitar, tries to help him, putting her at odds with Patty. Meanwhile, Brian faces Christmas alone, and Sharon and Rayanne (wo)man the phones at a teen hotline. sk mscl-scr.zip
film.7 ljubisha, -> #3, vitez.koja
> Pa, da nastavimo sa onim scenarijima... > > Jurassic Park Fali fajl. :)
film.8 vitez.koja,
UNFORGIVEN - A TRANSCRIPT sk unforgiv.zip
film.9 vitez.koja,
SPEED RACER Written by Kevin White * A live-action film adaptation based on characters created by Tatsuo Yoshida. sk ps. Nemam pojma koji je ovo film... :) pps. Interesuje nekog neki Buckaroo Banzai (tako nekako)? speedrcr.zip
film.10 vitez.koja,
THE LITTLE MERMAID The complete script Compiled by Corey Johanningmeier Portions copyright (c)1989 by Walt Disney Co. sk tlm.zip
film.11 vitez.koja,
Withnail and I sk witnail.zip
film.12 vitez.koja,
Ovo izgleda da je nešto sasvim blesavo (ne pročitah ga još)... Cinema Verite by Joel B. Finkelstein and Eric M. Schmeltzer The story of five friends who really, really want to make a cool bank-robbery movie, but don't know just how to go about it. Until they get an idea. Za one koji vole da znaju šta skidaju: Cinema Verite, The Ninth Wonder of the World Yeah, that's right, tough guy, I wrote a damn MOVIE! With my friend Eric, of course. So read, look it over, and tell me what you think. But don't go ripping us off! This baby is COPYWRITED (copywritten?) and registered with the God Bless It U S of A Government in Washington, D.C.! So you wanna rip us off? You wanna take our clever ideas and witty dialogue and steal it out from under us? You know what I gotta say to that? GO HEAD, SUCKER. That's why this thing is ON the web in the first place! So people like you will rip us off, and then we'll HAUL YOUR ASS INTO COURT! And what we'll do to you will make what Artie Buchwald did to Eddie Murphy look like summer camp. Got that? So viddy well, little brothers, and enjoy. By the way, before we get started, I'd just like to say that though this isn't exactly the movie I'd set out to write if I were starting today (we all evolve as people, don't we?)(or at least I do. I don't know about all of us.)(But I digress), I still think it's pretty neat, and pretty cool that Eric and I actually wrote the damn thing. So, what I'm trying to say is, enjoy, and, please, don't be too tough on us. sk cv.zip
film.13 vitez.koja,
Alien script (yet incomplete) sk alien_ts.zip
film.15 ivantod,
Evo Twin Peaks faq, a u sledećoj poruci nešto interesantnije... Ivan tp_faq.zip
film.16 ivantod,
... a to je Twin Peaks timeline of events. tp_time.zip
film.17 strider,
L U D I L O O O O O O O O o O O o O.....
film.18 basrak, -> #2, mikis
> By Emanuel Levy > the new Yugoslav film "Pretty Villages, Pretty Flames" is > one of the most audacious antiwar statements ever committed to > the bigscreen. > Reviewed at Montreal World Film Festival, Aug. 26, 1996. Opa... Ko je to, mislim na kritičara, naravno?
film.19 mikis, -> #18, basrak
+> Opa... Ko je to, mislim na kritičara, naravno? Nemam pojma, ali ako ti nešto znači recenzija je objavljena u listu "Variety".
film.20 vitez.koja,
STAND BY ME A 1986 Rob Reiner Film sk stand.zip
film.21 vitez.koja,
===================================== THE PLAINTIVE SONG OF THE CURIOUS BOY By Herbert Gambill ===================================== Here is the complete text of my screenplay, THE PLAINTIVE SONG OF THE CURIOUS BOY, the comical story of the orphan Curious Clodfelter, whose extended family (through a wild succession of random events) becomes involved with an underground cult far away from their North Carolina home. sk curious.zip
film.22 vitez.koja,
THE PRINCESS BRIDE by William Goldman based on his novel Ovo je skript, ranije smo imali transkript... sk princess.zip
film.23 vitez.koja,
TOP GUN by Chip Proser REVISED April 4, 1985 sk topgun.zip
film.24 vitez.koja,
To je sve od skriptova narode (ako nisam nesto propustio, ne racunajuci Buckaroo Banzai :). Jednostavno ih nema vise, kada bude bice i ovde... sk
film.25 vitez.koja,
Ipak sam zaboravio na... DISNEY'S THE HUNCHBACK OF NOTRE DAME Transcribed by Ben Scripps (belledisny@aol.com) (34rqnpq@cmuvm.csv.cmich.edu) ...izvin'te :) sk hunch.zip
film.26 dr.grba, -> #24, vitez.koja
>> To je sve od skriptova narode (ako nisam nesto propustio, ne >> racunajuci Buckaroo Banzai :). Jednostavno ih nema vise, kada bude >> bice i ovde... A sada, posle silnog downloada, idem u neki mračan kutak da tiho plačem: i dalje nema "Kumova" II i III.... Eh, al' sam neskroman...
film.27 ivantod,
SURVIVING PICASSO **1/2 Pablo Picasso: Anthony Hopkins Francoise Gilot: Natascha McElhone Dora Maar: Julianne Moore Marie-Therese Walter: Susannah Harker Henri Matisse: Joss Ackland Directed by James Ivory. Written by Ruth Prawer Jhabvala. Running time: 120 minutes. Rated R (for a scene of nudity and brief sex-related language). By Roger Ebert One of the perennial dilemmas of movie biographies is that it is easy to film gossip and hard to film art. Thus we get great artists who spend vast quantities of time in bed, leaping up occasionally to dash off a painting, when in real life it was probably more a case of hours spent at work, and then a quick leap into the sack. Pablo Picasso was one of the more notorious lovers of the century, a man who did not disrespect women so much as value them highly as replaceable possessions. His first love was art, his second love was himself, his third love was what women could do for him. During the decades of his greatness there was no shortage of women eager to see it his way. In ``Surviving Picasso,'' one of his mistresses, Dora Maar, says, ``Without him, there is nothing. After Picasso, only God.'' And another of his lovers, the faithful Marie-Therese Walter, complains sadly of her poverty while still saving every Thursday and Sunday for his visits. (She is the only person he will trust to cut his hair and nails, and she saves all of the clippings--at his insistence, to be sure, not hers.) ``Surviving Picasso'' is the story of one lover who was not destroyed by Picasso: Francoise Gilot, who was his mistress from the mid-1940s to the mid-1950s, bore him two children, and walked away in one piece. Played by Natascha McElhone, she is an elegant young woman who projects more confidence than she probably feels the first time she enters Picasso's studio. He has picked her up in Le Petit Benoit, a little Left Bank bistro, leaving Dora's table to join her, and in his invitation he's left little doubt of his intentions: ``Come and see me--but come as if you like me, not because you're visiting the Holy Shrine of Fatima.'' There is another warning signal as she enters: ``You're now in the labyrinth of the Minotaur,'' he says, ``who perishes if he doesn't devour at least two young ladies a day.'' Why did so many women find Picasso irresistible, even in his old age? Perhaps because he felt himself to be irresistible. And certainly because he was Picasso, who through one period and into another successfully maintained his reputation as the century's greatest artist. Picasso is played here by Anthony Hopkins, in another great biographical interpretation by an actor of limitless resources. It is less than a year since he convinced me he was Richard Nixon; now he disappears into the idea of Picasso. As Hopkins creates Picasso, he is cruel, abrupt, vain, stingy, a sexual glutton, and yet we can see the dazzling charm and effortless confidence--the certainty of greatness--that inspired new lovers to pursue him, brushing aside all warnings. (``Listen,'' says Picasso's servant as Gilot falls into the net, ``it would be better for you to go home.'') The movie is made at one remove from its primary sources. The Merchant-Ivory team was not able to obtain the rights to Gilot's own autobiography, or the permission to show any of Picasso's artwork. So they used another book about Picasso and his lovers (``Picasso: Creator and Destroyer,'' by Arianna Stassinopoulos), and commissioned fake Picassos. Access to the originals might not have made a difference, since the movie's weakness is its inability to see past Gilot to the great man. ``Surviving Picasso'' proceeds as if the most important thing in Picasso's life during his time with Francoise was Francoise. (I am reminded of the old story about the actor hired to play a gravedigger in ``Hamlet,'' who describes the play as ``about this gravedigger who meets a prince.'') We see scenes of seduction, quarrels, selfishness. We see a faithful chauffeur dismissed after 25 years for a moment of carelessness. We hear the complaints of Picasso's long-suffering assistant, who reveals to Francoise that he is married, lives in a garret, and has to pay for his own train tickets when summoned to join Picasso out of town. This is the backstairs litany of retainers, more interesting in footnotes than as the main story. Even this limited viewpoint is marred further by two structural problems: The movie breaks down into anecdotes that don't flow or build, and everything is narrated by the Gilot character. McElhone, who is electric and convincing when she's onscreen, is a bad voice-over narrator, and screenwriter Ruth Prawer Jhabvala has not helped with language that seems formal and stilted, like a schoolgirl's commentary for an educational film. There is much to admire in ``Surviving Picasso,'' especially in Hopkins' performance and in the flashes that all of the supporting characters bring. (Joss Ackland has a gentle charm as Henri Matisse, Joan Plowright is self-assured as Francoise's grandmother, and Julianne Moore is edgy and resigned as Dora Maar.) But when it is over we are left with the conclusion that if Picasso had not been a great artist, this story would not have much mattered; as a beast toward women, he was nothing special. Copyright Chicago Sun-Times Inc.
film.28 ivantod,
INFINITY *** Richard Feynman: Matthew Broderick Arline Greenbaum: Patricia Arquette Mel Feynman: Peter Riegert Tutti Feynman: Dori Brenner Directed by Matthew Broderick. Written by Patricia Broderick. Running time: 119 minutes. Rated PG (for thematic elements, mild sensuality and language). By Roger Ebert Richard Feynman, who won the Nobel Prize for physics in 1965, was one of the most interesting men our century has produced. As a very young man, he did theoretical work at Los Alamos on the project to develop an atomic bomb. In 1960, he gave a speech so famous it is known simply as ``Feynman's Talk,'' in which he described a new science of nanotechnology--the manipulation of very, very small things. Not only was it possible to write the complete contents of the Encyclopaedia Britannica on the head of a needle, he said, but the contents of every book ever written could be stored in a space the size of a dust mote. (This speech helped point the way to the tiny microprocessors on silicon chips that made modern computers possible.) Near the end of his life, conducting a simple experiment with a glass of ice water, he solved the mystery of the Challenger space shuttle disaster. He died in 1988. At first I was disappointed that ``Infinity,'' the new film based on his early years, pays relatively little attention to Feynman's science. It follows an old tradition: Movies about great men tend to concentrate on the time when they were young and in love, rather than when they were middle-aged and doing their most important work. (It is a great relief when the subject, like Mozart, dies while still young.) ``Infinity'' follows Feynman (Matthew Broderick) from the late 1930s until the mid-1940s, a time during which he met and courted his first wife, Arline Greenbaum (Patricia Arquette). He was born brilliant and was not shy to admit it; on one of his first dates with Arline, he bets a Chinese merchant that he can solve problems in his head faster than the man can use his abacus. A graduate of MIT, now studying at Princeton, Feynman long has been in love with Arline. Marriage, they thought, could wait--and would have to, because they had no money. Then two things changed all that. Feynman was offered a job in the top-secret research project at Los Alamos, and Arline became seriously ill with tuberculosis. In those days TB was a hushed-up illness; patients went to sanitariums to recover, placing their lives on hold. In the film, Feynman and his love are not sure they have time to spare. She may die. And he knows as well as anyone that the developing war may bring untold disaster. Over his parents' objections, they get married despite her illness. Feynman leaves for New Mexico and at the first opportunity sends for Arline, who becomes a patient in an Albuquerque hospital. Broderick and Arquette have a sweet, unforced chemistry as the young couple, who try their best to lead normal lives in an abnormal situation (in one scene, they barbecue steaks on a grill on the front lawn of the hospital). For Feynman, almost everything is an experiment; he pounces around her hospital room, testing the limits of the human nose. (His theory: We could sniff out things a lot better if we paid more attention to the process.) The project at Los Alamos takes on a shadowy unreality as a backdrop to their married life. I vividly remember the great documentary ``The Day After Trinity,'' about the development of the bomb, and in the backgrounds of some shots in ``Infinity,'' I could guess what was happening in the real world of the Manhattan Project. But the film, directed by Broderick and written by his mother, Patricia, is more concerned with their inner landscapes. Eventually the love story won me over. I could see that ``Infinity'' was not going to be about Feynman's science but about his heart, but then the film had never promised to be anything else. Maybe the problems of these two small people didn't amount to a hill of beans in the crazy world they were living in--but they mattered to Richard and Arline, and at the center of the story is the fact that a brilliant scientist who can figure out almost anything can't make the slightest dent in the ultimate reality of death. ``Infinity'' is a sweet story about smart people, and depends for its effect on the bittersweet knowledge that their happiness is transitory. There are moments when they seem to sense some higher power, as when they hold a picnic in a kiva--one of the dwellings hewn out of rock faces by early cliff-dwelling Indians--and others when sorrow strikes, as when Richard buries his face in Arline's clothes to remember her powder and perfume. It is a small story, and a touching one. Copyright Chicago Sun-Times Inc. űűÚ]´ŁQ˙¸ őÇž¬Sč infinity.jpg
film.29 ivantod,
Pošto smo gledali film "12 majmuna," zanima me da li ima interesenata da pošaljem nekoliko sličica iz filma "La Jetee" koji je poslužio kao inspiracija za 12M, čisto da vidite koliko ima sličnosti. :) Ivan
film.30 pertla,
Gde mogu da nabavim neki od sledećih filmova? - Malcolm X - Do the Right Thing - Who's the Man? - Juice - Used Cars
film.31 pertla,
Snimaće se DIE HARD 4 !!?? Bruce je dobio 25.000.000$ režija će biti John Woo ili Q. Tarantino Mišljenja?...
film.33 mdimitrijevic, -> #31, pertla
> Snimace se DIE HARD 4 !!?? > > rezija ce biti John Woo ili Q. Tarantino > > Misljenja?... Bice mrtvih :)))
film.32 mdimitrijevic, -> #29, ivantod
> da li ima interesenata da posaljem nekoliko slicica iz > filma "La Jetee" koji je posluzio kao inspiracija za 12M, Bacaj ako su zadovoljavajuceg kvaliteta.
film.34 lexus, -> #33, mdimitrijevic
=> Bice mrtvih :))) Neće biti preživelih ;)
film.35 ivantod, -> #32, mdimitrijevic
> > da li ima interesenata da posaljem nekoliko slicica iz÷║ > > filma "La Jetee" koji je posluzio kao inspiracija za 12M, > > Bacaj ako su zadovoljavajuceg kvaliteta. Pa pazi, film je crno-beli a slike su dobijene grebovanjem sa videa tako da je kvalitet onakav kakav se može postići takvim postupkom. Recimo 6 na skali 1-10. Ajde, evo za početak slika koja prikazuje Pariz posle III svetskog rata, pa ako hoćete još kažite. Ivan jetty01.jpg
film.36 mdimitrijevic, -> #35, ivantod
> Pariz posle III svetskog rata, pa ako hocete jos kazite. Salji, uvek moze za nesto da se iskoristi :) Posalji neke od slika koje su vaznije za radnju (sa nekim od likova).
film.37 ivantod, -> #36, mdimitrijevic
> Salji, uvek moze za nesto da se iskoristi :) Ajde, dobro, ionako nisu veliki fajlovi. Evo ga muški lik, ekvivalent lika kojeg u 12M igra Brus Vilis (u ovom filmu nemaju imena). Ivan jetty05.jpg
film.38 ivantod,
La jetee, žena posmatra ključni događaj na aerodromu... jetty04.jpg
film.39 ivantod, -> #38, ivantod
... a ovde je sam događaj koji ona vidi. jetty03.jpg
film.40 ivantod,
I konačno, ovde je scena na kojoj njih dvoje posmatraju veliko drvo na čijim su čvorovima označene godine -- ova scena u 12M ne postoji direktno, već tako što njih dvoje u bioskopu gledaju Hičkokov film "Vertigo" koji sadrži sličnu scenu. Ovo je zadnja sličica, tako da ako sam ugnjavio s ovim znajte da je gotovo. :) Ivan jetty06.jpg
film.41 vitez.koja, -> #40, ivantod
#=> Ovo je zadnja sličica, tako da ako sam ugnjavio s ovim znajte da #=> je gotovo. :) Evo da i ovde pošaljem pričicu La Jetee (izvinjavam se onima koji skidaju dvaput, ali 9k) - ovo "teta" je zapravo é. La JetÚe's Script. --------------------------------------------------------------------------- Part of the Chris Marker World Wide Web Site. Written by Adrian Miles. --------------------------------------------------------------------------- This script is reproduced from: Marker, Chris. La JetÚe: cinÚ-roman. New York: Zone Books, 1992. --------------------------------------------------------------------------- This is the story of a man, marked by an image from his childhood. The violent scene that upsets him, and whose meaning he was to grasp only years later, happened on the main jetty at Orly, the Paris airport, sometime before the outbreak of World War III. Orly, Sunday. Parents used to take their children there to watch the departing planes. On this particular Sunday, the child whose story we are telling was bound to remember the frozen sun, the setting at the end of the jetty, and a woman's face. Nothing sorts out memories from ordinary moments. Later on they do claim remembrance when they show their scars. That face he had seen was to be the only peacetime image to survive the war. Had he really seen it? Or had he invented that tender moment to prop up the madness to come? The sudden roar, the woman's gesture, the crumpling body, and the cries of the crowd on the jetty blurred by fear. Later, he knew he had seen a man die. And sometime after came the destruction of Paris. Many died. Some believed themselves to be victors. Others were taken prisoner. The survivors settled beneath Chaillot, in an underground network of galleries. Above ground, Paris, as most of the world, was uninhabitable, riddled with radioactivity. The victors stood guard over an empire of rats. The prisoners were subjected to experiments, apparently of great concern to those who conducted them. The outcome was a disappointment for some - death for others - and for others yet, madness. One day they came to select a new guinea pig from among the prisoners. He was the man whose story we are telling. He was frightened. He had heard about the Head Experimenter. He was prepared to meet Dr. Frankenstein, or the Mad Scientist. Instead, he met a reasonable man who explained calmly that the human race was doomed. Space was off-limits. The only hope for survival lay in Time. A loophole in Time, and then maybe it would be possible to reach food, medicine, sources of energy. This was the aim of the experiments: to send emissaries into Time, to summon the Past and Future to the aid of the Present. But the human mind balked at the idea. To wake up in another age meant to be born again as an adult. The shock would be too great. Having only sent lifeless or insentient bodies through different zones of Time, the inventors where now concentrating on men given to very strong mental images. If they were able to conceive or dream another time, perhaps they would be able to live in it. The camp police spied even on dreams. This man was selected from among a thousand for his obsession with an image from the past. Nothing else, at first, put stripping out the present, and its racks. They begin again. The man doesn't die, nor does he go mad. He suffers. They continue. On the tenth day, images begin to ooze, like confessions. A peacetime morning. A peacetime bedroom, a real bedroom. Real children. Real birds. Real cats. Real graves. On the sixteenth day he is on the jetty at Orly. Empty. Sometimes he recaptures a day of happiness, though different. A face of happiness, though different. Ruins. A girl who could be the one he seeks. He passes her on the jetty. She smiles at him from an automobile. Other images appear, merge, in that museum, which is perhaps that of his memory. On the thirtieth day, the meeting takes place. Now he is sure he recognizes her. In fact, it is the only thing he is sure of, in the middle of this dateless world that at first stuns him with its affluence. Around him, only fabulous materials: glass, plastic, terry cloth. When he recovers from his trance, the woman has gone. The experimenters tighten their control. They send him back out on the trail. Time rolls back again, the moment returns. This time he is close to her, he speaks to her. She welcomes him without surprise. They are without memories, without plans. Time builds itself painlessly around them. Their only landmarks are the flavor of the moment they are living and the markings on the walls. Later on, they are in a garden. He remembers there were gardens. She asks him about his necklace, the combat necklace he wore at the start of the war that is yet to come. He invents an explanation. They walk. They look at the trunk of a redwood tree covered with historical dates. She pronounces an English name he doesn't understand. As in a dream, he shows her a point beyond the tree, hears himself say, "This is where I come from ..." - and falls back, exhausted. Then another wave of Time washes over him. The result of another injection perhaps. Now she is asleep in the sun. He knows that in this world to which he has just returned for a while, only to be sent back to her, she is dead. She wakes up. He speaks again. Of a truth too fantastic to be believed he retains the essential: an unreachable country, a long way to go. She listens. She doesn't laugh. Is it the same day? He doesn't know. They shall go on like this, on countless walks in which an unspoken trust, an unadulterated trust will grow between them, without memories or plans. Up to the moment where he feels - ahead of them - a barrier. And this was the end of the first experiment. It was the starting point for a whole series of tests, in which he would meet her at different times. Sometimes he finds her in front of their markings. She welcomes him in a simple way. She calls him her Ghost. One day she seems frightened. One day she leans toward him. As for him, he never knows whether he moves toward her, whether he is driven, whether he has made it up, or whether he is only dreaming. Around the fiftieth day, they meet in a museum filled with timeless animals. Now the aim is perfectly adjusted. Thrown at the right moment, he may stay there and move without effort. She too seems tamed. She accepts as a natural phenomenon the ways of this visitor who comes and goes, who exists, talks, laughs with her, stops talking, listens to her, then disappears. Once back in the experiment room, he knew something was different. The camp leader was there. From the conversation around him, he gathered that after the brilliant results of the tests in the Past, they now meant to ship him into the Future. His excitement made him forget for a moment that the meeting at the museum had been the last. The Future was better protected than the Past. After more, painful tries, he eventually caught some waves of the world to come. He went through a brand new planet, Paris rebuilt, ten thousand incomprehensible avenues. Others were waiting for him. It was a brief encounter. Obviously, they rejected these scoriae of another time. He recited his lesson: because humanity had survived, it could not refuse to its own past the means of its survival. This sophism was taken for Fate in disguise. They gave him a power unit strong enough to put all human industry back into motion, and again the gates of the Future were closed. Sometime after his return, he was transferred to another part of the camp. He knew that his jailers would not spare him. He had been a tool in their hands, his childhood image had been used as bait to condition him, he had lived up to their expectations, he had played his part. Now he only waited to be liquidated with, somewhere inside him, the memory of a twice-lived fragment of time. And deep in this limbo, he received a message from the people of the world to come. They too travelled through Time, and more easily. Now they were there, ready to accept him as one of their own. But he had a different request: rather than this pacified future, he wanted to be returned to the world of his childhood, and to this woman who was perhaps waiting for him. Once again the main jetty at Orly, in the middle of this warm pre-war Sunday afternoon where he could not stay, he though in a confused way that the child he had been was due to be there too, watching the planes. But first of all he looked for the woman's face, at the end of the jetty. He ran toward her. And when he recognized the man who had trailed him since the underground camp, he understood there was no way to escape Time, and that this moment he had been granted to watch as a child, which had never ceased to obsess him, was the moment of his own death. --------------------------------------------------------------------------- Directory Chris Marker Bibliography Chris Marker's Words Chris Marker's Audio Visual Texts Chris Marker HomePage Index --------------------------------------------------------------------------- Last Updated, July 1995. amiles@rmit.edu.au --------------------------------------------------------------------------- ę Adrian Miles, 1995. Royal Melbourne Institute of Technology University.
film.44 pertla,
Pročitajte poruku 1.2 u temi filozofija!!! Direktno se nadovezuje na priču o DANU NEZAVISNOSTI
film.46 dr.grba, -> #41, vitez.koja
>> Part of the Chris Marker World Wide Web Site. >> Written by Adrian Miles. Davno je bilo kada sam poslednji put pročitao ovako lepu poruku o nekom filmu. Ako iz istog izvora ima još ovakvih materijala, molim te da ne štediš svoje vreme na Internetu. (:
film.45 dr.grba, -> #40, ivantod
>> Ovo je zadnja sličica, tako da ako sam ugnjavio s ovim znajte da je >> gotovo. :) Ovaj mali projekat otvara novi nivo priče o filmu: user-defined slike iz filma (: Lično, veoma sam zainteresovan da viđam ovakve stvari.
film.47 zmdjokic,
Da li je neko gledao film "12 majmuna" (valjda se ovako zove:))? Kakve su impresije? Pozdrav!
film.48 ivantod, -> #45, dr.grba
> Ovaj mali projekat otvara novi nivo priče o filmu: user-defined > slike iz filma (: > Lično, veoma sam zainteresovan da viđam ovakve stvari. U ovom konkretnom slučaju, ja sam više zainteresovan da pogledam film in question (La Jetee), mada su ovde sličice prilično dobar pokazatelj filma, pošto je on ionako snimljen kao niz statičnih slika, a ne "normalno." :) Ivan P.S. Ovo nema veze sa prethodnim, ali došlo mi je da pitam sledeće dve stvari. (1) Da li ovde postoji još neko osim mene ko je čuo za reditelja po imenu Michael Powell (i još bolje ako neko zna gde mogu da se nađu filmovi istog). (2) Da li neko slučajno ima negde ili zna gde može da se nađe film "La belle et la bete" Jean Cocteau-a? Biću vrlo zahvalan osobi koja odgovori pozitivno na bar jedno od ova dva pitanja. :)
film.49 pertla,
Zar je moguće da NIKO ne zna odgovor na 8.30 !?!?!?
film.50 dr.grba, -> #48, ivantod
>> U ovom konkretnom slučaju, ja sam više zainteresovan da pogledam >> film in question (La Jetee)... Ovo sam, svakako, smatrao da se podrazumeva (:
film.52 ivantod,
U nastavku sledi nekoliko filmova koji će biti prikazani na "Cinemaniji." Sledećih dana biće još toga, a neke sam već ranije slao. Ivan
film.53 ivantod,
BED OF ROSES A film review by James Berardinelli Copyright 1996 James Berardinelli RATING (0 TO 10): 7.0 Alternative Scale: *** out of **** United States, 1996 U.S. Release Date: 1/27/96 (wide) Running Length: 1:27 MPAA Classification: PG (Mature themes) Theatrical Aspect Ratio: 1.85:1 Cast: Mary Stuart Masterson, Christian Slater, Pamela Segall, Josh Brolin, Brian Tarantina, Ally Walker Director: Michael Goldenberg Producers: Allan Mindel and Denise Shaw Screenplay: Michael Goldenberg Cinematography: Adam Kimmel Music: Michael Convertino U.S. Distributor: New Line Cinema While BED OF ROSES lacks the freshness of WHEN HARRY MET SALLY and the smart sensuality of BEFORE SUNRISE, it nevertheless possesses enough intelligence and energy to lift it into the upper echelon of "traditional" modern romances. And, with so many of today's recent love stories originating from Jane Austen's pen, something like BED OF ROSES can offer a contemporary change of pace. The film follows the expected pattern of a conventional romance: two characters meet and fall in love, complications arise, causing a breakup, then there's a reunion just in time for the end credits. While BED OF ROSES offers few surprises in its formulaic progression of events, the tale is told with heartfelt tenderness, and, for once, the circumstances that threaten the pair's happiness have nothing to do with re-appearing old flames. In some romances, couples must cross a generational gap to be together. Other times, the barrier may be cultural or racial. In BED OF ROSES, each of the protagonists -- Lisa (Mary Stuart Masterson) and Lewis (Christian Slater) -- must overcome their own emotional dysfunctions in order to enter into a relationship. As a result of tragic pasts, neither is confident about expressing feelings, and, while both are emotionally needy, they discover that receiving is often as hard as giving. Lewis was a happily married Wall Street mover and shaker when he lost both his wife and baby to childbirth. Since then, he has devoted his life to his new job: delivering flowers from the shop he owns. He does it because he likes to see people's faces when they receive their arrangement. In that way, he seeks solace through the ephemeral joy of others. Lisa had a sad, lonely childhood that she never recovered from. Now, to compensate for the emotional gulf in her life, she has thrown herself fully into her career. With the exception of her best friend, Kim (the bubbly Pamela Segall), Lisa has no one to confide in or share with. She's a workaholic for whom the concept of fun is "utterly beside the point." One night while Lewis is out for a walk, he looks up and sees Lisa standing by her window, crying. Moved, and not understanding why, he sends her an anonymous flower arrangement. Eventually, after being pressed for the sender's name, Lewis admits the truth, then follows up by inviting Lisa to spend the day with him, delivering flowers and watching people's faces. BED OF ROSES probably wants to be more literate than it succeeds at being. The film belabors the symbolism of flowers, which, at one point or another, stand for everything from life and love to the fragility of emotions. There are also messages about the importance of family and how the traumas of childhood affect a person's behavior as an adult. Not all these themes are effectively explored. Better, however, for BED OF ROSES to be overambitious than for it to "dumb up" its script. Among the movie's assets are the performances of leads Mary Stuart Masterson (FRIED GREEN TOMATOES) and Christian Slater (BROKEN ARROW). Not only do these two work effectively as a couple, but each manages to create a sympathetic individual. Through the nuances of Masterson's performance, it's possible to feel Lisa's isolation. Likewise, Slater's underplaying of Lewis makes him more accessible to the audience. Both Masterson and Slater have appeared in romances before -- he in UNTAMED HEART and she in BENNY AND JOON. BED OF ROSES marks a step forward for both actors. And, as 1996's undisputed Valentine's Day date picture, this film offers the mood that couples expect from a light drama about love in the '90s. Although the overall story claims little in the way of originality, it at least approaches its material with charm, which is more than can be said of many so-called love stories. - James Berardinelli
film.54 ivantod,
DENISE CALLS UP A film review by James Berardinelli Copyright 1996 James Berardinelli RATING (0 TO 10): 6.5 Alternative Scale: **ź out of **** United States, 1995 U.S. Release Date: beginning 3/96 (limited) Running Length: 1:20 MPAA Classification: PG-13 (Profanity, sexual situations) Theatrical Aspect Ratio: 1.85:1 Cast: Alanna Ubach, Timothy Daly, Caroleen Feeney, Dan Gunther, Dana Wheeler-Nicholson, Liev Schreiber, Aida Turturro, Syvia Miles Director: Hal Salwen Producer: J. Todd Harris Screenplay: Hal Salwen Cinematography: Mike Mayers Music: Lynn Geller U.S. Distributor: Sony Pictures Classics It's the era of e-mail, call waiting, answering machines, and cellular phones -- a time when impersonal communication has replaced interpersonal communication. Nights spent hanging out have given way to electronic chat group get-togethers. Generation X'ers live their lives in comfortable isolation, never having to face friends or enemies. At least that's how Hal Salwen presents things in DENISE CALLS UP, and, for a certain segment of the population, Salwen's scenario doesn't exaggerate much. If talking on the telephone is a weak surrogate for real human contact, then the men and women of DENISE CALLS UP are seriously deprived. None of them ever congregate. They spend their lives in front of a computer and on the phone. They date, fall in love, fall out of love, have sex, and even die with a receiver pressed to their ears. Whole relationships begin, climax, and end without either of the parties ever knowing what the other looks like. DENISE CALLS UP is basically a seven-character, two story play. Both of the main plotlines involve characters developing relationships with people they've never met. There's Jerry (Liev Schreiber) and Barbara (Caroleen Feeney), a couple who goes on a blind phone date. After a few awkward, getting-to-know-you calls, they discover that they like each other, and, while neither has time to meet the other in person, they spend steamy nights engaging in phone sex. Then there's Martin (Dan Gunther), who one day gets a call out of the blue from Denise (Alanna Ubach). It seems that he once donated a sperm sample to a bank, and Denise was the recipient. Now, she's eight months pregnant with his child, and, having learned the father's identity, she has decided to contact him. Hovering around these characters are three friends -- Frank (Timothy Daly), Gale (Dana Wheeler-Nicholson), and Linda (Aida Turturro) -- disembodied voices offering advice and support. One of the problems with DENISE CALLS UP is that it takes its excesses to excess. As intriguing as the premise is, I'm not sure it can support a feature-length movie (even one as short as eighty minutes), and the second half of DENISE CALLS UP (with the exception of a riotous conference call) is far less fresh than the first half. In addition, Salwen's presentation is often cynical, sometimes bordering on cruel, and this attitude makes it difficult for viewers to care about the characters. The last scene rings hollow because the people involved don't mean that much to us. On the other hand, there's no doubt that Salwen conveys his message. DENISE CALLS UP isn't a vacuous comedy -- it has something to say, and the humor, some of which is quite funny, represents Salwen's method of preaching. Special mention should also be made of editor Gary Sharfin's work. Much of DENISE CALLS UP's best comedy involves quick, expert cuts as the camera shifts back and forth between as many as six characters using call waiting to stay on the phone at the same time. DENISE CALLS UP is light enough that it doesn't demand much range from the performers, all of whom are fine for their roles. The actors do their best to mold likable characters, but sometimes the script's glibness defeats them. So, while Salwen has formed an interesting portrait of modern social interaction, his cynicism works against the movie's success. DENISE CALLS UP might have been more effective if the writer/director had taken the time to create characters imbued with more than token traces of humanity. As things stand, everyone in this film is little more than a voice on the other end of the phone. - James Berardinelli
film.55 ivantod,
THE ISLAND OF DR. MOREAU A film review by James Berardinelli Copyright 1996 James Berardinelli RATING (0 TO 10): 4.0 Alternative Scale: ** out of **** United States, 1996 U.S. Release Date: 8/23/96 (wide) Running Length: 1:35 MPAA Classification: PG-13 (Violence, mature themes) Theatrical Aspect Ratio: 2.35:1 Cast: Marlon Brando, Val Kilmer, David Thewlis, Fairuza Balk, Ron Perlman, Temuera Morrison, Marco Hofschneider, William Hootkins Director: John Frankenheimer Producer: Edward R. Pressman Screenplay: Walon Green, Michael Herr, Ron Hutchinson, and Richard Stanley, based on the story by H.G. Wells Cinematography: William A. Fraker Music: Gary Chang U.S. Distributor: New Line Cinema In THE STRANGE CASE OF DR. JEKYLL AND MR. HYDE, Robert Louis Stevenson examined the nature of good and evil by externalizing a normally-internal struggle. Similarly, in THE ISLAND OF DR. MOREAU, H.G. Wells explored the differences between man and beast by taking a battle that normally occurs deep in the heart (the civilized aspect of one's nature versus the bestial one) and realizing it in a concrete manner. There's also a none-too-subtle message about the dangers of letting the advancements of science outstrip corresponding ethics. As originally envisioned by Wells, THE ISLAND OF DR. MOREAU is a tale of great substance; as re-invented by director John Frankenheimer (THE MANCHURIAN CANDIDATE), it's disappointingly shallow and pointless. This is, in fact, the third time the H.G. Wells story has been brought to the screen. The first, called THE ISLAND OF LOST SOULS, was made in 1933. Filmed in black-and-white with Charles Laughton as Dr. Moreau, it's a chilling (if somewhat outdated) look at what happens when a man plays god. 44 years later, with Burt Lancaster in the title role, a color version of THE ISLAND OF DR. MOREAU opened in theaters. Arguably better than the original, this uses state-of-the-art makeup to augment an adventure that still has time to consider the philosophical implications of its subject matter. Now, in 1996, we are saddled with another remake. And, while it might have been possible to argue the merits of this version of THE ISLAND OF DR. MOREAU if it had offered something more than the others, the sad truth is that it offers much less. For, while the creatures look better than in even the 1977 version, the heart and soul of the story have been gutted, leaving behind a hollow, chaotic nightmare. Somewhere under the debris left by a script credited to four screenwriters lie the remnants of Wells' story, but the original tale is distorted and diluted not only by the need to "modernize" it, but the desire to emphasize visual effects and pyrotechnics over drama. (So what else is new this summer?) When the movie opens, we're introduced to Englishman Edward Douglas (David Thewlis), the lone survivor of a plane crash. He's drifting around on the ocean in a life raft when a ship captained by an American named Montgomery (Val Kilmer) rescues him. Then, as he's being treated for dehydration, he's taken to the isolated island of Montgomery's mentor, the Nobel Prize-winning Doctor Moreau (Marlon Brando), to await transportation back to civilization. Almost immediately, Edward becomes aware that some very strange things are taking place there. Moreau is experimenting with splicing animal and human DNA. In trying to engineer the perfect creature, an entity that is "pure, harmonious, and free of malice", he has created a gallery of grotesquely malformed "beast-men". The prize of his collection is his "daughter", Aissa (Fairuza Balk), a real "pussycat." THE ISLAND DR. MOREAU gets off to a promising start. Steeped in an atmosphere that grows more ominous and eerie with each scene, the first half hour promises far more than what the rest of the production delivers. The film's middle portion, while watchable, makes us aware that the script wasn't written for thinking viewers. It's during the concluding half hour, however, that the movie's house-of-cards storyline collapses. Nothing much makes sense, and the climax seems to exist solely as an opportunity to show off a few reasonably impressive explosions. The acting varies from bad to awful. During the last fifteen-plus years, Marlon Brando has been in the habit of taking small roles for obscene sums of money. His cameo performances are typically terrible, and his interpretation of Moreau follows the pattern. He's only on screen for about fifteen minutes, and, while there, his amazing girth is far more likely to capture our attention than his acting. Meanwhile, David Thewlis and Val Kilmer seem to be in a contest to see who can ham it up more. To be fair, Fairuza Balk (GAS FOOD LODGING) does a credible job of mixing kittenish and human qualities, but, although she creates the only sympathetic character in the entire film, she is underused. Other members of the cast, including Ron Perlman (THE CITY OF LOST CHILDREN) and Temuera Morrison (ONCE WERE WARRIORS), are unrecognizable beneath Stan Winston's makeup. Insultingly, Frankenheimer concludes the movie with a short sermon about the fine line that separates man from beast. If the director actually wanted to get this point across, he should have worked it into the film rather than tacking it on as an afterthought. It is, after all, an integral aspect of the source material. That it has been so thoroughly excised from the main plot isn't THE ISLAND OF DR. MOREAU's only problem, but it's symptomatic of the flawed mindset that went into planning this occasionally incoherent and ultimately disappointing motion picture. - James Berardinelli
film.56 ivantod,
STEALING BEAUTY A film review by James Berardinelli Copyright 1996 James Berardinelli RATING (0 TO 10): 6.0 Alternative Scale: **1/2 out of **** U.S./Italy, 1996 U.S. Release Date: beginning 6/14/96 (limited) Running Length: 1:58 MPAA Classification: R (Sex, nudity, mature themes) Theatrical Aspect Ratio: 2.35:1 Cast: Liv Tyler, Jeremy Irons, Donal McCann, Sinead Cusack, Ignazio Oliva, Jean Marais, D.W. Moffett, Stefania Sandrelli, Rachel Weisz Director: Bernardo Bertolucci Producer: Jeremy Thomas Screenplay: Susan Minot Cinematography: Darius Khondji Music: Richard Hartley U.S. Distributor: Fox Searchlight Pictures What do you call a character study with shallow, sketchily-drawn characters, but a gorgeous setting? A scenery study, perhaps. Or an atmosphere study. Either would be appropriate for STEALING BEAUTY, a stylish, sensual motion picture that's hollow where it should have a heart. This film is aesthetically pleasing but not emotionally satisfying. It's occasionally erotic but rarely dynamic. While these aren't unforgivable traits, I somehow expected more from a Bernardo Bertolucci (LAST TANGO IN PARIS) film. The main thrust of the movie are the attempts of the lead character, Lucy Harmon (Liv Tyler), to lose her virginity. At age 19, she's never slept with a man -- a revelation that causes a great stir among the residents of the Tuscany villa where she is spending the summer. Everyone is sympathetic with her situation, and they begin to consider who might best be able to accommodate her. here is no shortage of candidates. STEALING BEAUTY presents them one-by-one, then dismisses them in the same manner. There's the American boyfriend of the jewelry-maker daughter of Lucy's hostess. There's the son, Christopher, or one of his friends, including Nicolo, with whom Lucy shared her first kiss four long years ago on her last visit to Italy. Then there's Nicolo's shy, sensitive friend, who turns away from the sight of an exposed female breast. As the story, such as it is, develops, a mystery subplot is introduced: who is Lucy's real father? There are three apparent possibilities: Alex Barnes (Jeremy Irons), a dying writer; Ian Grayson (Donal McCann), the sculptor husband of Lucy's hostess; and Carlo Lisca (Carlo Cecchi), a mysterious ex-military man. We know the truth long before Lucy does, but STEALING BEAUTY is never surprise-oriented. It doesn't take a genius to weed through the choices to determine who will get the opportunity to deflower Lucy. Despite all the screen time accorded to Tyler, her character shows little development. Events seem to swirl around her, only briefly touching her shallow emotional center. Fundamentally, she's no different at the end than at the beginning (except that her hymen is no longer intact). Several of the supporting characters show greater depth. Most notable of these is Jeremy Irons' terminally ill author, who becomes Lucy's confidante and vicariously lives out his last days through her. There's very little comic relief in this too-serious film, which makes for a rather grim movie-going experience. STEALING BEAUTY is long, but doesn't really go anywhere. It is most remarkable for its excellent sense of time and place. The Italian countryside becomes as vital a supporting character as Alex, and when Lucy dives into a lake, you can almost feel the cool, clear water. STEALING BEAUTY functions as a two-hour, surrogate holiday -- diverting and visually captivating, but far from a cinematic landmark. - James Berardinelli
film.57 mdimitrijevic, -> #47, zmdjokic
> Da li je neko gledao film "12 majmuna" (valjda se ovako zove:))? > Kakve su impresije? Vec je bilo reci o ovom filmu. Film je, po mom skromnom misljenu, odlican. Pogledao sam ga pre nekoliko dana ponovo i jos vise mi se svideo (mora da je to zbog toga sto sam ga prvi put gledao na losoj kopiji :).
film.58 ivantod,
Evo danas jos nekoliko filmova sa predstojece Cinemanije. :) LAST MAN STANDING A film review by James Berardinelli Copyright 1996 James Berardinelli RATING (0 TO 10): 6.0 Alternative Scale: **1/2 out of **** United States, 1996 U.S. Release Date: 9/20/96 (wide) Running Length: 1:41 MPAA Classification: R (Violence, violence, and more violence) Theatrical Aspect Ratio: 2.35:1 Cast: Bruce Willis, Christopher Walken, Bruce Dern, William Sanderson, David Patrick Kelly, Ned Eisenberg, Alexandra Powers, Karina Lombard, Michael Imperioli Director: Walter Hill Producers: Arthur Sarkissian and Walter Hill Screenplay: Walter Hill based on the story by Ryuzo Kikushima and Akira Kurosawa Cinematography: Lloyd Ahern Music: Ry Cooder U.S. Distributor: New Line Cinema A number of words come to mind when considering Walter Hill's latest directorial effort, LAST MAN STANDING. One is violent. Another is excessive. A third is unnecessary. This exceptionally bloody film probably features more gunshots than all of Bruce Willis' DIE HARD movies put together. The atmosphere is so thick and pointlessly "artsy" that it threatens to choke the viewer. And, since this story has already been filmed twice before, in much better versions (Akira Kurosawa's 1961 YOJIMBO and Sergio Leone's 1964 A FISTFUL OF DOLLARS), the audience is left wondering why Hollywood felt the need to do it again. The basic idea of LAST MAN STANDING is to transfer the samurai sword epic YOJIMBO from Japan in the 1860s to a small United States town in the Old West. However, since that's exactly what A FISTFUL OF DOLLARS did, the film makers felt compelled to add a prohibition-era flavor to the mix. The result is a bizarre mixture of western and gangster genres that doesn't really work. Tommy guns and tumbleweeds don't make for a perfect marriage, and the site of Bruce Willis, dressed in a crisp suit and fedora, striding through a dust storm towards the local saloon causes us to wonder if the costume and set designers didn't get their wires crossed. Willis is "John Smith", The Man With No Name who has previously been essayed by Toshiro Mifune and Clint Eastwood. And, whatever other problems LAST MAN STANDING may exhibit, the lead actor's performance isn't among them. Laconic, tight-lipped (except during an irritatingly unnecessary dime-store novel voiceover), and grim-faced, Willis is right for the part. Smith is a mercenary and a mystery, and Willis keeps us curious about his history and what he plans to do next. Smith arrives in Jericho, Texas (population: 57) on a hot, windy afternoon at the height of the prohibition era. The town is controlled by two gangs with their roots in Chicago (the question of why Chicago gangs would war over run-down Jericho is never satisfactorily explained): the Irish, led by Doyle (David Patrick Kelly), and the Italians, run by Strozzi (Ned Eisenberg). Smith's car undergoes some heavy damage when he is caught looking the wrong way at Doyle's girl, Felina (Karina Lombard). This pulls Smith into Jericho's unstable political situation. He learns that the sheriff, Ed Galt (Bruce Dern), is a crook, and there's not much difference between Doyle and Strozzi, except that Doyle has a sadistic henchman named Hickey (Christopher Walken) who kills for the sheer joy of it. Soon Smith, looking to make as much money as he can, is playing both ends against the middle, and is always one step away ahead of death. Hill goes way overboard with atmosphere, incorporating elements of everything from traditional western and gangster motifs to film noir cliches. Almost every outdoor scene features a dust storm and every indoor sequence is heavily shadowed. At times, the blowing dust bleeds out color, leaving us with shots that appear to be almost black-and- white. It's a clever conceit, but totally superfluous. Atmosphere is supposed to be a background element, but Hill forces it into the foreground, as if attempting to overcompensate for structural and plausibility problems in his script. Then there's Ry Cooder's hard rock score, which seems vastly out of place for this sort of period piece. Over-the-top, cartoonish violence is a big part of LAST MAN STANDING. The body count is way up there, and there's one instance when it takes approximately forty bullets to kill one man. Hill is not Sam Peckinpah, however, and, as a result, much of the bloodshed comes across as gratuitous rather than stylized. Sure, there are a lot of people we want to see killed, but this sort of wholesale carnage is more repetitious than satisfying. Aside from Willis, the best acting job is turned in by Bruce Dern as the pragmatic, crooked sheriff of Jericho. Christopher Walken is at his maniacal best as Hickey, although, at this point in his career, I'm beginning to wonder if he can play anything other than a psycho. Most of the rest of the cast, including Karina Lombard (WIDE SARGASSO SEA), is unimpressive at best. Worse, the secondary characters are a poorly- developed lot, with motives that vary from incomprehensible to merely unexplained. As a shallow tale of conscienceless bloodshed and revenge, LAST MAN STANDING is reasonably effective. But as an updated version of the far better-realized YOJIMBO, it's an unqualified failure. LAST MAN STANDING is a surface picture -- it looks good, sounds good, and moves quickly -- but there's no depth whatsoever. In the past, Walter Hill has done some great work (SOUTHERN COMFORT, 48 HOURS) and some less-than-great work (GERONIMO). LAST MAN STANDING falls closer to the latter category than the former. - James Berardinelli
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MAXIMUM RISK A film review by James Berardinelli Copyright 1996 James Berardinelli RATING (0 TO 10): 3.0 Alternative Scale: *1/2 out of **** United States, 1996 U.S. Release Date: 9/13/96 (wide) Running Length: 1:37 MPAA Classification: R (Violence, profanity, sex, nudity) Theatrical Aspect Ratio: 1.85:1 Cast: Jean-Claude Van Damme, Natasha Henstridge, Zach Grenier, Jean-Hugues Anglade Director: Ringo Lam Producer: Moshe Diamant Screenplay: Larry Ferguson Cinematography: Alexander Gruszynski Music: Robert Folk U.S. Distributor: Fine Line Features All of the sudden, after years of languishing in art houses and specialty film festivals, the luminaries of Hong Kong cinema are breaking into the mainstream American market. Jackie Chan, one of the best-known action stars in the world, scored a modest financial hit with RUMBLE IN THE BRONX. Actor Chow Yun-Fat has been working on something called THE REPLACEMENT KILLERS. Director John Woo already has two English-language features under his belt (HARD TARGET and BROKEN ARROW), and there are more to come. Now, another of Hong Kong's celebrated film makers, Ringo Lam (director of CITY ON FIRE, which is the likely inspiration for Quentin Tarantino's RESERVOIR DOGS), has reached U.S. screens. His Hollywood debut is called MAXIMUM RISK, and everyone eagerly awaiting the film's release is in for a big disappointment. Watching MAXIMUM RISK, I had the feeling I'd seen the film before. I hadn't, of course, but the generic nature of the plot and action sequences, not to mention the presence of Jean-Claude Van Damme, made everything seem all-too-familiar. If I hadn't known beforehand that Lam was the director, I never would have guessed it. MAXIMUM RISK displays little of the style that has gained the film maker an international following. This is the kind of job that a hack director could have accomplished. The plot is rather convoluted, and frequently doesn't make sense, but I'll try to present the cogent details here, for anyone who's interested. Van Damme plays a dual role. He starts off as Mikhail Suverov, a high-ranking member of the Russian Mob's American chapter. When Mikhail is killed in a car chase in South France, a French cop who looks eerily like the dead man is brought into the case. As it turns out, the policeman, named Alain Moreau, is actually Mikhail's twin (screenwriter Larry Ferguson must have been watching a soap opera when he came up with this twist). The two were separated shortly after birth when their mother realized she couldn't care for them both. Now, with Mikhail dead, Alain is determined to discover all he can about his brother's life and death. His investigation leads him to New York and Mikhail's girl friend, Alex Minetti (Natasha Henstridge). Alain also meets a sadistic gangster named Ivan (Zach Grenier), a bunch of ugly thugs, and a group of crooked FBI agents. Soon, he and Alex are in over their heads, and running for their lives. We're talking pedestrian action here. There are all the usual staples: car chases, foot chases through moving traffic, foot chases across rooftops, fist fights (with a little kick-boxing thrown in for good measure), and shootouts. I kept expecting Lam to do something unique, but, by the time the end credits started rolling, I realized it was a vain hope. This is just another story of Van Damme hunting, and being hunted by, a variety of stereotypical bad guys. There's no room in the formula for improvisation or originality. Van Damme's presence is an immediate disadvantage (just ask John Woo; the action star headlined his American debut, HARD TARGET, which went down in flames at the box office). While the actor is capable of handling action sequences, his acting range can charitably be described as "limited", so any emotional component to MAXIMUM RISK is irretrievably lost. We're supposed to believe that Alain is distraught over the death of the brother he never knew he had, but Van Damme's wooden expression doesn't get the point across. Then there's Natasha Henstridge as The Love Interest. In SPECIES, she didn't show much in the way of acting ability, but wasn't shy about displaying her physical attributes. Here, this cookie-cutter role doesn't exactly challenge her range, but it gives her another opportunity to expose the assets that were much in evidence in that previous outing. Beyond that, however, there's not much to Alex, and any romantic heat that might have been generated is diffused by the complete lack of chemistry between the leads. Henstridge and Van Damme together couldn't light a cigarette. It's reasonable to hope that Lam agreed to direct this movie because it was a means of entrance into the American film market. Even then, however, there's no denying that this is the most unpromising of beginnings. It took John Woo three years to recover from working with Van Damme. Let's hope the same misfortune doesn't befall Lam. As for a trip to the theaters=85 instead of seeing MAXIMUM RISK, rent one of Lam's Hong Kong films. They highlight the talent that is woefully unapparent in this generic action flick. - James Berardinelli
film.60 ivantod,
WHITE SQUALL A film review by James Berardinelli Copyright 1996 James Berardinelli RATING (0 TO 10): 8.0 Alternative Scale: ***1/2 out of **** United States, 1996 Running Length: 2:08 MPAA Classification: PG-13 (Profanity, mature themes, violence) Theatrical Aspect Ratio: 2.35:1 Cast: Jeff Bridges, Caroline Goodall, John Savage, Scott Wolf, Jeremy Sisto, Balthazar Getty, Ryan Phillipe, Jason Marsden Director: Ridley Scott Producers: Mimi Polk Gitlin and Rocky Lang Screenplay: Todd Robinson based on the memoirs of Chuck Gieg Cinematography: Hugh Johnson Music: Jeff Rona with contributions by Hans Zimmer U.S. Distributor: Hollywood Pictures WHITE SQUALL combines male bonding drama, high seas adventure, and coming-of-age stories. For his first film since the disastrously dull 1492: CONQUEST OF PARADISE, director Ridley Scott (BLADE RUNNER, ALIEN, THELMA AND LOUISE) has again turned to the ocean. This time, however, instead of sinking the film with a needlessly meandering plot, he energizes the screen with a movie that gives the audience an involving narrative and characters to care about. Based on the true-life memoirs of Chuck Gieg, WHITE SQUALL introduces us to 13 high school students who have elected to spend the 1960-61 academic year on the American schoolship Albatross (a windjammer based out of Mystic, Connecticut). The Captain is Christopher Sheldon (Jeff Bridges), a man who preaches two lessons: the importance of unity among the crew and that "the ship beneath [them] is not a toy and sailing's not a game." His wife, Alice (Caroline Goodall), is the ship's doctor and the boys' science teacher. Other adults aboard are a Shakespeare-quoting English teacher (John Savage) and a Cuban cook (Julio Mechoso). The young crew includes Chuck (Tom Cruse look-alike Scott Wolf), an all-American student who wants to break away from his parents' vision of what his future should be; Tod (Balthazar Getty), a tough-as-nails kid who hides a secret; Frank (Jeremy Sisto), who can't escape from under his rich father's thumbnail; and Gill (Ryan Phillipe), a young man with a desperate fear of heights. The trip on the Albatross is their rite of passage. By the end of WHITE SQUALL, those who have survived are no longer boys, but men. Given the title, it's no secret that the Albatross runs into real trouble. In nautical language, a "white squall" is a sudden, violent, wind-and-lightning storm that can take the sturdiest ship and snap it in two. However, this meteorological catastrophe doesn't make an appearance until the film's last forty-five minutes. Until then, WHITE SQUALL devotes itself to developing its young characters, their growing admiration for their skipper, and the relationships amongst them. While some of this drama relies on familiar formulas, a capable director like Scott can maintain the audience's attention through a long setup. As is typical of a Scott film, the visuals are marvelous. The scenes of the Albatross as it rises and falls with the swells of the sea are majestic, and the fury of the squall is as terrifying an experience as you're likely to find in an adventure film these days. With the aid of cinematographer Hugh Johnson, Scott composes each of these grand sequences carefully, in order to convey the maximum effect. Jeff Bridges, who is beginning to look more like his father with every passing picture, is in top form, providing a compelling father- figure/mentor. The role isn't exactly unique, but Bridges brings enough personality to Chris Sheldon to create an interesting character. John Savage, who hasn't done a film in a while, is delightful as McCrea. The young actors playing the boys vary from passable to good, with those having key roles doing the better jobs. For nearly two hours, WHITE SQUALL is a completely involving motion picture, keeping its comic, dramatic, and tragic elements in perfect balance. Unfortunately, the need to end with a DEAD POETS' SOCIETY-like catharsis brings the conclusion down. Hopelessly corny and needlessly- manipulative, the last scene is bad melodrama. Mercifully, it lasts only a few minutes, and the overriding image left with the viewer as the end credits roll is not of this silliness but of the Albatross riding the seas in the face of a hurricane-force wind. WHITE SQUALL is a success because the good elements are so well-orchestrated that they dwarf the few obvious flaws. This film offers just about everything, including a twenty-minute white-knuckle sequence and a chance to shed a few tears. In short, it's first-rate entertainment. - James Berardinelli
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Evo opet malo filmova sa cinemanije... MATILDA A film review by James Berardinelli Copyright 1996 James Berardinelli RATING (0 TO 10): 7.5 Alternative Scale: *** out of **** United States, 1996 U.S. Release Date: 8/2/96 (wide) Running Length: 1:33 MPAA Classification: PG (Scary situations) Theatrical Aspect Ratio: 2.35:1 Cast: Mara Wilson, Danny DeVito, Rhea Perlman, Embeth Davidtz, Pam Ferris, Paul Reubens, Tracey Walter Director: Danny DeVito Producers: Danny DeVito, Michael Shamberg, Stacey Sher, and Liccy Dahl Screenplay: Nicholas Kazan and Robin Swicord based on the book by Roald Dahl Cinematography: Stefan Czapsky Music: David Newman U.S. Distributor: TriStar Pictures Arriving in the latter half of the summer, Danny DeVito's MATILDA beats out such worthy contenders as THE HUNCHBACK OF NOTRE DAME and HARRIET THE SPY for best family fare of the season. In fact, I haven't enjoyed a so-called "children's film" this much since last year's BABE or TOY STORY. Although MATILDA, which is based on a story by Roald Dahl (whose JAMES AND THE GIANT PEACH reached screens earlier this year), is primarily aimed at the under-10 crowd, DeVito has crammed this movie with elements designed to appeal to adults. The result is a highly- satisfactory black comedy/fantasy that will find fans of all ages. MATILDA contains numerous elements of traditional fairy tales -- a wicked step-aunt, a true friend with a pure heart, and more than a little magic -- but "traditional" is about the last word that comes to mind when describing this quirky film. DeVito, whose previous efforts include the viciously wacky WAR OF THE ROSES, is in fine form here, exaggerating characters and situations to the point where they lose their more terrifying edge without going so far that we no longer care about any of the inhabitants of this world. It's a fine line to walk, but MATILDA rarely falters. The basic material may seem odd for a family film, dealing as it does with issues of child neglect, abuse, and revenge. By removing the story from conventional reality, however, DeVito pulls it off. This is a world where adults (except two) are bad and children (except one) are good. It's a place where television is a force of mind-numbing evil and where books represent escape and solace. And, most importantly, empowerment is genuine, not just a slogan. Matilda (Mara Wilson) is the youngest child, and only daughter, of Harry and Zinia Wormwood (Danny DeVito and Rhea Perlman), who are described as living "in a very nice neighborhood in a very nice house", but not being very nice people. Mr. Wormwood is a used car salesman with the police tracking his every move, and Mrs. Wormwood is obsessed with bingo parlors and television game shows. Both parents are extremely neglectful of their little six-and-one-half year old daughter, even though she shows signs of amazing intelligence and various remarkable powers (she and John Travolta's character in PHENOMENON could have long, meaningful discussions). Eventually, Mr. Wormwood notices his daughter long enough to send her off to Crunchem Hall, an elementary school lorded over by the ogre- like Miss Trunchbull (Pam Ferris), whose motto is "Use the rod, beat the child." She practices what she preaches, taking delight in punishing her charges and informing them mercilessly that her idea of a perfect school is one where there are no children. Fortunately for Matilda, her first grade teacher, Miss Honey (Embeth Davidtz), is kind and good- hearted, and immediately recognizes her new student's amazing gifts. Mara Wilson, who lit up the screen as Robin Williams' daughter in MRS. DOUBTFIRE, and captured the Natalie Wood role in the remake of A MIRACLE ON 34TH STREET, is enchanting without being either sickeningly adorable or unbearably irritating. She has a natural charisma, and seems the perfect choice for the perky, indomitable Matilda. Wilson causes us care about the title character, and that identification is necessary to MATILDA's success. It's rare for an actor this young to give such a polished performance. DeVito and his wife, Rhea Perlman, are effective in their cartoonish roles. Embeth Davidtz (FEAST OF JULY) radiates sweetness and vulnerability. And Pam Ferris takes on the Herculean role of Trunchbull by sinking her teeth into it and going as far over-the-top as the director lets her (which, in most cases, is pretty far). She reminded me forcefully of Ursula from Disney's animated THE LITTLE MERMAID. Meanwhile, Paul Reubens (aka Pee-Wee Herman) has a cameo as one of the cops shadowing Harry Wormwood. MATILDA is not politically correct -- it is, after all, a pint- sized revenge fantasy -- but, in this case, that's a definite plus. Besides, for those who want bland, "wholesome" family entertainment, there's always Disney. Children aren't likely understand much of the black comedy and satire here, but they'll be so involved in the story that they won't notice that a lot is going over their heads. Hardly a moment of MATILDA can be described as either juvenile or condescending, and, compared with many of this summer's so-called "mature" features, that makes for a delightfully refreshing change-of-pace. - James Berardinelli
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WHITE MAN'S BURDEN A film review by James Berardinelli Copyright 1995 James Berardinelli RATING (0 TO 10): 6.3 United States, 1995 U.S. Availability: 12/1/95 (wide) Running Length: 1:29 MPAA Classification: R (Profanity, violence, mature themes) Theatrical Aspect Ratio: 1.85:1 Cast: John Travolta, Harry Belafonte, Kelly Lynch, Margaret Avery, Sheryl Lee Ralph Director: Desmond Nakano Producer: Lawrence Bender Screenplay: Desmond Nakano Cinematography: Willy Kurant Music: Howard Shore U.S. Distributor: Savoy Pictures Black is white and white is black. It's a clever gimmick, but, ultimately, as depicted in WHITE MAN'S BURDEN, that's all it is. Once the premise is set, writer/director Desmond Nakano doesn't know what to do with it. Added to that is the consideration that the basic story was developed in a screenplay written thirty years ago, when the entire concept would have seemed a lot more radical and original. Nowadays, seeing a prosperous black man isn't at all unusual. Likewise, it doesn't take much searching to uncover underprivileged whites. In order to make it clear what's going on--that the blacks are the "haves" and the whites are the "have nots"--WHITE MAN'S BURDEN falls into a pattern of gross stereotyping and oversimplification. Indeed, without painting characters and situations in the broadest possible manner, there wouldn't be a concrete way to recognize the role reversal. Yet it's this reliance upon archetypes and cliches that undercuts the film's message. Something a little more subtle is needed than a group of black cops beating a white man with night sticks. The situation set forth in WHITE MAN'S BURDEN naturally raises a lot of background questions, none of which are answered. Are whites a racial minority, or have they simply been reduced to the lowest rung on the economic ladder (a sort of South Africa in reverse)? Were whites once slaves and blacks plantation owners? What is the country's political structure like? What color is the indigenous population of Africa? When you enter the Twilight Zone of an alternate reality, these are the kinds of things people are interested in, yet this film sidesteps them all. There isn't much of a story in WHITE MAN'S BURDEN. John Travolta, virtually duplicating his PULP FICTION personae, decides to kidnap black CEO Thaddeus Thomas (Harry Belafonte). Travolta's Louis Pinnock, who used to work for Thaddeus' candy-making company, was fired as a result of a mistake by his bosses. So, in order to pay the rent and keep his family together, Louis decides to take matters into his own hands by demanding his lost wages from the man at the top of the corporate heap. The idea of a relationship developing between a kidnapper and his victim is nothing new, and not much of interest is added here. Ultimately, however, in WHITE MAN'S BURDEN, the race reversal gimmick overshadows everything. The director is so busy pointing to skin color that he loses sight of the characters under the pigmentation. There's nothing compelling about either of the leads. They never connect with each other or the audience. Sure, there are some nice touches, like the scene where Louis teaches Thaddeus the best way to put salt on his French fries, but there aren't enough moments like that. It often seems that there's a good story trying to break free, but WHITE MAN'S BURDEN is so loaded down by contrivances and the need to get its message across that it smothers creativity. After playing three similar characters in a row (see PULP FICTION and GET SHORTY), Travolta can probably do this kind of role in his sleep. And, of everything the actor has accomplished since Quentin Tarantino brought him back into the spotlight, this is the least impressive of his performances. Harry Belafonte, who has been largely absent from the screen for the better part of two decades, has chosen an odd movie for a comeback attempt. He's okay here, but this isn't the kind of part that will earn him raves. The plot of WHITE MAN'S BURDEN is capable of holding an audience's attention for most of its running time. Based on the premise, however, viewers have a right to expect more than they get. Skin color swapping and facile assumptions about the relationship between race and economics are used more as cheap plot devices than as a basis for a probing examination of real issues. While it's the film makers' task to form something solid and meaningful out of their alternate reality, in this case, the burden appears to have been too great. - James Berardinelli
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THE FAN A film review by James Berardinelli Copyright 1996 James Berardinelli RATING (0 TO 10): 2.5 Alternative Scale: * out of **** United States, 1996 U.S. Release Date: 8/16/96 (wide) Running Length: 1:55 MPAA Classification: R (Profanity, violence) Theatrical Aspect Ratio: 2.35:1 Cast: Robert De Niro, Wesley Snipes, John Leguizamo, Ellen Barkin, Benicio Del Toro, Patti D'Arbanville-Quinn, Andrew J. Ferchland, John Kruk Director: Tony Scott Producer: Wendy Finerman Screenplay: Phoef Sutton based on the novel by Peter Abrahams Cinematography: Dariusz Wolski Music: Hans Zimmer U.S. Distributor: TriStar Pictures Travis Bickle (TAXI DRIVER). Rupert Pupkin (THE KING OF COMEDY). Max Cady (CAPE FEAR). Dwight Hansen (THIS BOY'S LIFE). These are a few of the names from the gallery of psychos essayed by celebrated actor Robert De Niro during his thirty-year career. And, though each of these characters is unique, there exists at least one common element amongst them (other than the obvious) -- they are all three-dimensional creations, individuals who attain a terrifyingly believable life. The credit for this goes to both De Niro and to the writers and directors who sketched the outlines that he so ably filled in. Therefore, given De Niro's track record, it was reasonable to expect good things from him in THE FAN, director Tony Scott's followup to last year's blockbuster, CRIMSON TIDE. In fact, with De Niro playing a sociopathic baseball nut, one might be forgiven mistakenly believing that this movie had potential. Unfortunately, whatever promise the idea held was lost early in the film making process. The version of THE FAN to reach movie screens is as unwatchable a thriller as has come to theaters this year. De Niro, in fact, is part of THE FAN's problem. Mugging it up for the camera, he gives a tasteless, uninteresting, caricature-like portrayal. The actor, who's usually a delight to watch, turns in one of his worst performances as the troubled Gil Renard, a recently fired hunting-knife salesman with an unhealthy passion for Giants baseball. Gil latches onto the Giants' latest free-agent acquisition, superstar centerfielder Bobby Rayburn (Wesley Snipes, doing a credible Barry Bonds impersonation), who signed a multiyear, $40 million contract to play with the San Francisco team. Gil, whose personal life is a mess (he's divorced and his ex-wife has taken out a restraining order on him), becomes fixated on Bobby, and it doesn't take him long to cross the line from obsessive fan to stalker. After the 1994 strike, one could make the case that baseball no longer deserves anyone's respect, but it's hard to argue that it merits the ghastly treatment handed out by Tony Scott. THE FAN treats everyone associated with the game -- fans, announcers, and players -- with contempt. Not only is the script superficially nasty, but the game sequences are poorly-filmed, with quick edits used to disguise the fact that hardly anyone involved (with the possible exception of ex-Major Leaguer John Kruk) can actually swing the bat. Baseball credibility is thrown out the window, especially during the impossible-to-swallow climactic struggle, which (believe it or not) echoes a similar scene from THE NAKED GUN. Actually, I might have been able to forgive THE FAN its liberties if it had been remotely enjoyable. But it's not -- the film replaces tension and excitement with reel after reel of tedium. The script spends too much time with cardboard characters like Bobby and Gil, while introducing others like sports radio host Jewel Stern (Ellen Barkin) who serve no purpose whatsoever. The entire first hour is devoted to showing what is immediately obvious: that Gil is a borderline nutcase with a volatile temper and a love of knives. Something must have gotten lost in the translation from book to movie. Phoef Sutton's script is based on a novel by Peter Abrahams, and it has all the characteristics of a hatchet job. THE FAN is disjointed, poorly paced, and, at times, completely incoherent. While Sutton has to bear some of the blame, the lion's share goes to Tony Scott, who has badly mishandled every aspect of this film. The director appears to have backslided into his unpromising BEVERLY HILLS COP II phase. Aside from Snipes' well-tuned performance and a few clever scenes detailing superstar marketing, this picture is a veritable wasteland. Even watching the horror show that the real Giants have become during the 1996 season is more fun than this. The advertising slogan may be "fear strikes soon", but, when it comes to THE FAN, fear, like the movie, strikes out. - James Berardinelli
film.65 pertla,
Da li neko zna kada će početi da se snima film o životu Džimi Hendriksa? Čuo sam da se spremaju 2 verzije. Prva je ozbiljna, glumiće Lorens Fišborn, zvaće se "Excuse me while I kiss the sky". Druga je komedija, glumiće "raper" L.L. Cool J., i zvaće se "Jimi". Nije mi jasno što ne počinju?! Hmmm...
film.64 ljubaz,
Sveže oteto od koleginice koja radi PR. Premijera oko 8. novembra. PINOKIO (The Adventures of Pinocchio) Prema romanu Karla Kolodia. Žanr: Porodični film, 94 min. Uloge: Martin Landau, Jonathan Taylor Thomas, Rob Schneider, Udo Kier, Genevieve Bujold, Bebe Neuwirth. Scenario: Sherry Mills, Steve Barron, Barry Berman Direktor fotografije: Juan Ruiz Anchia Kostimograf: Maurizio Millenotti Producenti: Jeffrey Sneller, Raju Patel Dizajn Pinokia: Jim Henson's Creature Shop & Animatronics Režija: Steve Barron Budžet: 30 miliona $ Duhovit, simpatičan i luckast: to je dobro poznati Pinokio! Jedna od najpriznatijih i najomiljenijih bajki svih vremena sada je preneta na platno kao dinamična igrana verzija. Kolodiev Pinokio je priča o čoveku koji žudi za sinom i o duši koja želi da se rodi. Drveni dečak je surovo odbačen od društva i traži istinu svog postojanja u magičnoj potrazi svoje duše... Otkrijte u novoj igranoj verziji Pinokia, kako snovi postaju istiniti, i želje stvarne. Ko još nije čuo priču o čuvenom sinu drvodelje Đepeta - Pinokiju, slatkom malom dečaku od drveta, koji hoda i govori, kome drveni nos raste do neslućenih razmera za svaku, pa i najsitniju laž. Nevolja je u tome što Pinokio nije pravi dečak, a njegova najveća želja na svetu je upravo da postane dečak od krvi i mesa. Njegova ljubav prema ocu je snažnija i veća od svakog zla na ovom svetu. Pinokio je, kao i svaki drugi dečak, nestašan i često upada u nezgodne situacije. On uči razliku između dobrog i zla. Ovaj dirljiv i poučan film će vam pokazati da se ponekad može dogoditi čudo... Snimiti već dobro poznati film, nije bio lak zadatak. Posebno ako je klasični Pinokio već postao Klasik posle Diznijeve verzije. Steve Barron zaslužuje veliko priznanje, za njegovu mnogo verniju i svežiju verziju "Avanture Pinokia" Film je baziran na Kolodievom romanu iz 1883 godine. Magija dolazi iz radionice Džima Hensona (Jim Henson's Creature Shop), u glavnim ulogama, Martin Landau (Đepeto) dobitnik oskara, i Džonatan Tejlor Tomas (Jonathan Taylor Thomas, Pinokiov glas i Pinokio kao dečak). Iz daleke i magične zemlje, gde snovi postaju stvarnost i čuda se stvaraju u srcu, potiče klasična priča o ljudskosti. Pinokio je priča u kojoj ljubav daje život svemu.
film.66 miobrado,
Subject: Imenski katalog filmografija (poruke iz civ.4 - civ.9) Fajl prikačen uz ovu poruku sadrži šest datoteka. To su: - filmovi.txt, - glumci.txt, - kompozit.txt, - producen.txt, - reditelj.txt i - scenaris.txt . Napravio sam ga na osnovu poruka mnikolica i korisnika čiji sam username zaboravio (po sećanju: bjevđić ili jvunjić), a sadržaj istog su poruke - filmografije, korisnika robert i slom. Enjoy it! mio.zip
film.67 ivantod,
Evo jos malo cinemanije... TWO MUCH A film review by James Berardinelli Copyright 1996 James Berardinelli RATING (0 TO 10): 3.0 Alternative Scale: *1/2 out of **** United States, 1996 U.S. Release Date: 3/15/96 (limited) Running Length: 1:58 MPAA Classification: PG-13 (Profanity, sex, violence) Theatrical Aspect Ratio: 2.35:1 Cast: Antonio Banderas, Melanie Griffith, Daryl Hannah, Danny Aiello, Joan Cusack, Eli Wallach Director: Fernando Trueba Producer: Cristin Huete Screenplay: Fernando and David Trueba based on the novel by Donald E. Westlake Cinematography: Jose Luis Alcaine Music: Michel Camilo U.S. Distributor: Touchstone Pictures In general, this kind of brainless farce is either a brilliant triumph or a dismal failure. There's no middle ground. TWO MUCH, an English-language release from BELLE EPOQUE director Fernando Trueba, conforms to this precept. Had it been thirty minutes shorter, TWO MUCH would simply have been boring. However, at nearly two hours, it's a grueling experience. Even fans of Antonio Banderas may find it a chore to endure this motionless picture. Banderas plays Art Dodge, a Miami-based con man who tries to trick widows into buying modern artwork. At the funeral of a mob boss, the dead man's son, Gene (Danny Aiello), reacts angrily to Art's scam, but, before things get nasty, Gene's ex-wife, Betty (Melanie Griffith), helps him escape. Twenty-four hours, after a night of sex, Betty and Art are engaged. Then Art meets Betty's sister, Liz (Daryl Hannah), and, suddenly, he's in love. Since Liz can't stand Art, he invents a twin brother, Bart, who's more to her liking. Things get complicated, however, when Art and Bart are required to be in the same house at the same time. With someone of John Cleese's comic aptitude, this film might have worked, but Antonio Banderas is out of his depth. At his best, he's almost adequate. Comedies like this live or die based on timing, and Banderas doesn't have the knack. Even considering his limitations, however, he's better than his co-stars. Melanie Griffith and Daryl Hannah both look bored, which is inevitably how everyone in the audience will feel watching them. There's no spark, romantic or otherwise, during the entire sluggish two hours that TWO MUCH is on screen. The only one with any presence is Danny Aiello, and he acts like he's playing the heavy in a gangster drama. Gene is a sinister caricature, and his presence casts a pall over every scene he's in (especially one where things turn violent). This isn't the best mood for something that's intended to be lighthearted. But, as ill-advised as the tone is, the pacing is worse. This film drags, and there aren't enough laughs to fill up a five-minute short, not to mention a full length feature. Ultimately, the real problem with TWO MUCH is that it's much, much too little. - James Berardinelli
film.68 ivantod,
KIDS A film review by James Berardinelli Copyright 1995 James Berardinelli RATING (0 TO 10): 8.7 United States, 1995 U.S. Availability: 7/21/95 (New York); 7/28/95 (limited release elsewhere) Running Length: 1:35 MPAA Classification: No MPAA Rating (Profanity, sex, violence, drugs) -- No one under 18 admitted without a parent Theatrical Aspect Ratio: 1.85:1 Cast: Leo Fitzpatrick, Justin Pierce, Chloe Sevigny, Rosario Dawson, Yakira Peguero Director: Larry Clark Producer: Cary Woods Screenplay: Harmony Korine Cinematography: Eric Alan Edwards Music: Louis Barlow U.S. Distributor: Excalibur Films The vision presented in Larry Clark's KIDS is as bleak as things get -- an ugly portrait of amoral youths who resort to drugs and sex not as a form of rebellion, but to fill the void of otherwise empty and meaningless lives. Unfortunately, KIDS is an accurate portrayal of how certain inner city children live out their existences. Take a look at the documentary TEEN DREAMS if you doubt how dangerously close to reality this fictional presentation comes. On the outside, Telly (Leo Fitzpatrick) is the kind of clean-cut teenage boy any mother might let her daughter go out with. He looks "normal" -- perhaps even a little nerdy -- and can be polite and sincere when it suits him. But Telly is an inveterate liar. He will say or do anything to satisfy his addiction for deflowering virgins. Sexually uninitiated girls present the greatest challenge and, as a bonus, are guaranteed disease-free. Not that he believes in AIDS anyway -- condoms, in his opinion, are a waste of time. Telly's best friend is Casper (Justin Pierce). While Casper also enjoys sex, his partners don't have to come with their hymens intact. And Casper's as much into drugs and drink as sleeping with girls. Like Telly, he's not concerned about the future or the consequences of his actions. He takes life as it comes, whether that means inhaling dope, raping a stoned girl, or beating someone half to death with a skateboard. Then there's Jennie (Chloe Sevigny), who's only had sex once, but, without protection, that was enough to do irreparable damage. When her HIV test comes back positive, her life collapses around her. Nothing makes sense. Her best friend, Ruby (Rosario Dawson), has had sex with at least eight guys, yet she's clean. And when Jennie rushes to stop another girl from sharing her fate, she arrives too late. KIDS is shot like a documentary and, in its uncompromising depiction of every aspect of the characters' social and sexual interactions, it seems almost too raw for fiction. Clark has meticulously designed this movie to blur the lines between reality and scripted story, hiring 20 year old Harmony Korine to write a screenplay that reflects what's really going on in the streets. The actors are all newcomers, and their unfamiliar faces and unpolished-yet-effective performances add to the documentary-like effect. KIDS follows the activities of a small group of teenagers over a twenty-four hour period (a little time frame cheating, by way of flashbacks, occurs). And what a twenty-four hours it is... KIDS will likely shock some viewers, but even those expecting this kind of grueling expose will be disturbed by the casual manner in which the most heinous acts are carried out. If people lose their souls as children, what happens when they grow up? This is a tragedy without a last act -- a wrenching experience that offers no catharsis. One of the ironies surrounding KIDS is that the MPAA wanted to slap it with an NC-17, which would have disallowed anyone under 17 from seeing it. Yet, despite the graphic nature of the material, this is the sort of thing many teenagers live with every day -- so, apparently, the message is that they can experience it outside theaters, but not view it on the screen. Miramax's decision to release the film unrated through a spinoff company at least allows the under-17 crowd an opportunity to see KIDS, if only in the company of a parent or legal guardian. Those who call KIDS exploitative may have seen the film, but they haven't bothered to really watch it. There is not a gratuitous moment in this picture, although some of the images are so strong that viewers will wish to close their eyes or turn away. KIDS shows what transpires when children are set adrift in a heartless world, and warns us what happens -- and is already happening -- in the absence of love and guidance. - James Berardinelli
film.69 dr.grba, -> #66, miobrado
>> Fajl prikačen uz ovu poruku sadrži šest datoteka. To su: Poruke koje su svojevremeno stizale u ovu temu su bile među najviše očekivanim u konferenciji, ako ne i na celom Sezamu. Ovim porukama su rasprave počinjale ili se završavale, i zato su imale mnogo veću vrednost od suve faktografije na kojoj su bile zasnovane. Da li zbog opale agilnosti korisnika, ili zbog multimedije (Cinemania i slični), takvih poruka više, uglavnom, nema. Stižu nam prikazi filmskih kritičara, ali one čari nehotičnog otkrića nekog zanimljivog podatka više nema. Da li smo prezasićeni informacijama? Da li živimo drugačije i da li razmišljamo drugačije? Hvala ti što si nas podsetio na taj vredni materijal. Ako ikada iko bude istraživao fenomenologiju modemskih komunikacija i uzeo Sezam kao primer, moraće da se seti i naše ljubavi prema filmu i načina na koji smo tu ljubav gajili.
film.70 ivantod, -> #69, dr.grba
> Da li zbog opale agilnosti korisnika, ili zbog multimedije (Cinemania > i slični), takvih poruka više, uglavnom, nema. Stižu nam prikazi > filmskih kritičara, ali one čari nehotičnog otkrića nekog zanimljivog > podatka više nema. Da li smo prezasićeni informacijama? Da li živimo Pa, ima dve stvari... što se tiče glumaca i reditelja, većinu poznatih su već "preneti" ovde, a u ovih par godina ipak nije snimljeno toliko novih filmova da bi se tu nešto značajno promenilo. Ja inače redovno svraćam tamo, i mogu da kažem da je količina podataka o filmovima značajno porasla od vremena kad su te poruke ovde ostavljana, takoda o novijim filmovima ima stvarno gomila podataka -- ali pogrešno raspoređenih: naći ćeš sva moguća imena i sve moguće tehnikalije, ali se ono što je u tim porukama bilo najzaniljivije, "trivia" sekcija obično svodina na jedan ili dva reda. Ja lično praktično jedino što gledam su kritike (i ostali linkovi koji se tu nađu). Ali, ako baš ima zainteresovanih da se i to dovlači... kažite neki film pa ćemo da vidimo... meni nije teško. :) Ivan P.S. E da, zaboravih... prominentno mesto zauzimaju podaci o zaradi i podaci o lokacijama snimanja. :)
film.71 pertla,
WAV iz PULP FICTION-a! Amanda Plummer u filmu PULP FICTION. Govori neverovatno izražajno rečenicu: "If any of you fucking bitch moves, I'm gonna execute every motherfuckin' last one of you!". 8 bit, Mono, 22.050 kHz, 7 seconds amanda.arj
film.73 pertla,
Još jedan WAV iz PULP FICTION-a. Samuel L. Jackson izgovara (izmišljeni) pasus iz biblije Jezekilj 25:17. 8 bit, Mono, 11.025 kHz, 51 seconds jezekilj.arj
film.74 vitez.koja, -> #69, dr.grba
#=> Da li zbog opale agilnosti korisnika, ili zbog multimedije #=> (Cinemania i slični), takvih poruka više, uglavnom, nema. Nije problem doći do podataka za glumce/režisere/filmove, samo treba reći za koje :). Stigla tura scenarija... Nešto malo... INNERSPACE ORIGINAL SCRIPT by Chip Proser May 20, 1984 First Draft sk innspace.zip
film.75 vitez.koja, -> #74, vitez.koja
ARCTIC BLUE Original screenplay by Ross LaManna sk arctic.zip
film.76 vitez.koja,
RUSH HOUR Original Screenplay by Ross LaManna sk rushhour.zip
film.77 vitez.koja,
TITANIC A Four-Hour CBS Miniseries By Ross LaManna sk titanic.zip
film.78 vitez.koja,
Onaj isti Kum I što sam ga slao (ne, još uvek nisam našao II & II), ovog puta kao Word 4 Win 2.0 dokument. 104 strane, cirka... sk godfathr.zip
film.79 miobrado, -> #70, ivantod
>> Ja inače redovno svraćam tamo, ..... Sve što može da obogati postojeću bazu podataka mi je u interesu, a tebi prepuštam izbor! :)
film.81 pertla,
Ako neko ima nešto o JEAN RENO-u neka odmah pošalje!
film.82 pertla,
PROSTO NE MOGU DA VERUJEM!!! Da li je moguće da baš NIKO ne zna odgovor na poruku 8.30 ?!?!?! Ako pretpostavljate odgovor, vi bar i to napišite!
film.83 junior,
Ako se ne varam, sk nije poslao Božićnu epizodu 'Crne Guje'. Evo je :) black_ad.zip
film.84 dr.grba, -> #70, ivantod
>> P.S. E da, zaboravih... prominentno mesto zauzimaju podaci o zaradi >> i podaci o lokacijama snimanja. :) OK, ima onaj novi film o zmajevima, DragonHeart ili nekako slično, ne mogu da se opsetim. Sniman je u Bratislavi. Da vidimo, čujemo, pročitamo štogođ o tom filmu, a? (:
film.85 dr.grba, -> #73, pertla
>> Samuel L. Jackson izgovara (izmišljeni) pasus iz biblije Jezekilj 25:17. Samo da prethodno proverimo: da li se završava sa "BANG"? Ako ne, onda ulažem reklamaciju (:
film.86 dr.grba, -> #82, pertla
>> PROSTO NE MOGU DA VERUJEM!!! >> >> Da li je moguće da baš NIKO ne zna odgovor na poruku 8.30 ?!?!?! Ove poruke su pomalo neumesne. Kao prvo, da li misliš da svi čitaoci ove teme sad mogu odmah da se sete šta je bio sadržaj pruke 8.30? Drugo, ako ti iko nije odgovorio, možda stvarno niko ne zna odgovor. Ovde dominira dobra volja kada je prikupljanje činjenica u pitanju i retko se desilo da je iko ostao na cedilu. Da li bi možda bio zadovoljniji da ti je nekoliko ljudi odgovorilo porukom "ja ne znam"? To ne radimo (: U svakom slučaju, bilo bi lepo da svoje poruke više ne intoniraš na ovaj način. Hvala ti na razumevanju, dobijemo li ga.
film.87 ivantod, -> #84, dr.grba
Dragonheart (1996) You will believe. USA 1996 Color * * * * * * * 7.6/10 (338 votes) Produced by: Universal Pictures [aka MCA/Universal Pictures] Certification: USA:PG-13 Language: English Genre/keyword: Action / Adventure / dragon / sword-and-sorcery / fantasy / medieval / swordfight / royalty Runtime: USA:103 Sound Mix: DTS Distributed by: Universal City Studios Special Effects by: Illusion Arts, Inc. / Industrial Light & Magic (ILM) / Tippett Studio MPAA reasons: Rated PG-13 for action/violence. Directed by: Rob Cohen Cast (in credits order): Dennis Quaid .... Bowen Sean Connery (voice) .... Draco Jason Isaacs .... Lord Felton Dina Meyer .... Kara David Thewlis .... King Einon Julie Christie .... Aislinn Pete Postlethwaite .... Gilbert Brian Thompson .... Brock Lee Oakes .... Young Einon Wolf Christian .... Hewe Terry O'Neill .... Redbeard John Gielgud .... King Arthur Written by: Patrick Read Johnson Charles Edward Pogue Cinematography by: David Eggby Music by: Randy Edelman Production Design by: Benjamin Fernandez Costume Design by: Anna B. Sheppard Film Editing by: Peter Amundson Produced by: Raffaella De Laurentiis Hester Hargett (co-producer) Patrick Read Johnson (executive) David Rotman (executive) Other crew: Matthew Brockhoff (assistant film editor) Giorgio Conti (assistant film editor) Lisa Cossettini (assistant film editor) Joanie Diener (music editor) Russell Earl (visual effects artist) Mark Siegel (sculptor/creature-maker/puppeteer) Scott Squires (visual effects supervisor) John Taylor (first assistant editor) Aaron Yamamoto (assistant film editor) TECHNICAL INFO Aspect ratio 2.35 : 1 PLOT SUMMARY Set in the 10th Century, a man (Bowen) teams up with the last dragon to remind the people of a long lost code of honor, and inspire them to fight for their freedom from a tyrannical king. Summary written by Rob Meyer {rob.meyer@csus.edu} QUOTES Draco: I merely chewed in self-defense. I didn't swallow. Draco: When you squeeze the nobility, you hurt the peasants. GOOFS Continuity The feathers on Brother Gilbert's arrow change during his first archery scene. FILMING LOCATIONS Slovakia RELEASE DATES USA 31 May 1996 Hong Kong 4 July 1996 Japan 31 August 1996 Italy 13 September 1996 South Africa 27 September 1996 Switzerland 18 October 1996 UK 18 October 1996 Australia 12 December 1996 BUSINESS INFORMATION Gross $51.317m (USA) (25 August 1996) $51.103m (USA) (18 August 1996) $50.75m (USA) (11 August 1996) $50.15m (USA) (4 August 1996) $49.213m (USA) (28 July 1996) $47.975m (USA) (21 July 1996) RATING A total of 338 people have given an average vote of 7.6 out of 10 out of 10 votes 01 8 = 2.4% 02 12 = 3.6% 03 8 = 2.4% 04 14 = 4.1% 05 18 = 5.3% 06 26 = 7.7% 07 43 = 12.7% 08 63 = 18.6% 09 55 = 16.3% 10 91 = 26.9%
film.88 inferno, -> #84, dr.grba
Ů│ ˙ OK, ima onaj novi film o zmajevima, DragonHeart ili nekako slično, ne Ů│ ˙ mogu da se opsetim. Sniman je u Bratislavi. Da vidimo, čujemo, Ů│ ˙ pročitamo štogođ o tom filmu, a? (: Vredi pogledati. Zmajev glas je Šon Koneri. :) Elem, dešava se u doba vitezova... izumrli su svi zmajevi na zemlji osim jednog. Tačnije nisu izumrli nego istrebljeni. Poslednjeg zmaja juri lovac na zmajeve i posle bitke postaju prijetlji. Tad počinje film...
film.89 basrak, -> #85, dr.grba
>>> Samuel L. Jackson izgovara (izmišljeni) pasus iz biblije > Jezekilj 25:17. > > Samo da prethodno proverimo: da li se završava sa "BANG"? Ako > ne, onda ulažem reklamaciju (: Završava sa zaglušujućim bang, bang, bang... ;)
film.90 hercog,
Može li neka dobra duša da mi pošalje repertoar 'Ballantines cinema'? (unapred hvala) Dexy
film.91 pertla, -> #86, dr.grba
> Ove poruke su pomalo neumesne. Kao prvo, da li misliš da svi čitaoci > ove teme sad mogu odmah da se sete šta je bio sadržaj pruke 8.30? Ne, ne mislim da se svi čitaoci sećaju te poruke, ali mogu da ponovo pogledaju... > Drugo, ako ti iko nije odgovorio, možda stvarno niko ne zna odgovor. Ili ipak postoje oni koji znaju, ali ih jednostavno mrzi da odgovore (znam takve). > Da li bi možda bio zadovoljniji da ti je nekoliko ljudi odgovorilo > porukom "ja ne znam"? To ne radimo (: Ne bih bio zadovoljniji. OK? :)))))
film.92 pertla, -> #89, basrak
I to kakvim "Beng!"-ovima se završava. Pištolja: komada 2 Beng!: komada 9 Žrtve: komada 1 P.S. - Does he look like a bitch? - What?!
film.93 ljubisha, -> #91, pertla
> Ne, ne mislim da se svi čitaoci sećaju te poruke, ali mogu da > ponovo pogledaju... Ajde podseti nas. Tebi je lakše da ponoviš pitanje nego nama da se vraćamo na tu poruku.
film.95 pertla, -> #93, ljubisha
»» »» Ajde podseti nas. Tebi je akše da ponoviš pitanje nego »» nama da se »» vraćamo na tu poruku. »» 8.30 CIVILIZACIJA.10:film pertla, 14.10.96. 02:28, 130 chr --------------------------------------------------------- Gde mogu da nabavim neki od sledećih filmova? - Malcolm X - Do the Right Thing - Who's the Man? - Juice - Used Cars ----------------------------------------------- 8.30 --- :)
film.96 ljubisha, -> #95, pertla
> Gde mogu da nabavim neki od sledećih filmova? Aha. Eto ja na primer nemam pojma a i nisam bio u video klubu najmanje godinu dana. :)
film.98 miobrado, -> #87, ivantod
>> Dragonheart (1996) To je ono pravo! Trivia: "Idemo dalje"!
film.99 miobrado,
Subject: Idemo dalje Pamti li neko ovaj film? Za isti se, istina šturo - a, u "Istorija-i jugoslovenskog filma", P. Volka - između ostalog, veli da "... Na osnovu teksta Slobodana Stojanovića je ovaj reditelj (Z. Šotra - op. miobrada) radio film "Idemo dalje" (1982) u kome je bilo neposrednosti vezane za dečiji svet u prvim poratnim danima. Sveža i originalna priča, plastični likovi dokumentarističke slike i spontana igra učinili su da je ovaj film o deci bio i ocenjen kao uspelo ostvarenje." Glumili su, koliko se sešam: D. Nikolić, E. Begović, V.B. Živojinović, D.B. Stojković, P. Vujisić, ... itd., dok je narator bio M. Žutić. Nisam siguran, da li je pravljena i serija od ovog filma. Šta mislite da li će isti biti emitovan, eventualno u subotu u večernjim časovima, na I kanalu RTS-a (recimo posle II dnevnika)? Trivia: Na RTS-u pred prošle izbore, dan pre izlazka na birališta (subota), pred ili za vreme II dnevnika emitovan je EP-spot za PIK "Takovo", koja se otprilike ovako završava: "... tako moja duša ište tako moje srce zbori T A K O V O ." Ista se prethodnih dana u EPP-u vrtela u enormnim količinama, dok je slogan koji je dominirao tom izbornom kampanjom bio - "tako treba".
film.101 mdimitrijevic, -> #85, dr.grba
> Samo da prethodno proverimo: da li se zavrsava sa "BANG"? Ako ne, onda > ulazem reklamaciju (: Razocaracu te. Zavrsava se sa "BANG, BANG, BANG ....". Sorry :)
film.100 mdimitrijevic, -> #84, dr.grba
> OK, ima onaj novi film o zmajevima, DragonHeart ili nekako slicno, ne > mogu da se opsetim. Sniman je u Bratislavi. Da vidimo, cujemo, > procitamo stogod o tom filmu, a? (: DragonHeart sa ????? (zaboravih mu ime) i sa kompjuterski generisanim zmajem kome je glas pozajmio Son Koneri. Film je OK, ima dobrih fazona a i glas Son Konerija daje posebnu atmosferu celom filmu. Efekti su odlicni, mada sam gledao na osrednjoj kopiji pa mi mozda izgleda bolje nego sto jeste.
film.102 madamov, -> #99, miobrado
> Nisam siguran, da li je pravljena i serija od ovog filma. Jeste, pravljena je serija. Film je, inače, skoro prikazivan na TV Politika u popodenvnom serijalu "50 najboljih" koji je skoro završen.
film.104 ivantod,
˙ ˙ ROMEO & JULIET ** ˙ ˙ ˙ Juliet Capulet: Claire Danes Romeo Montague: Leonardo DiCaprio Mercutio: Harold Perrineau Father Laurence: Pete Postlethwaite Fulgencio Capulet: Paul Sorvino Ted Montague: Brian Dennehy ˙ ˙ Directed by Baz Luhrmann. Screenplay by Luhrmann and Craig Pearce. Based on the play by William Shakespeare. Running time: 120 minutes. Rated PG-13 (for scenes of contemporary violence and some sensuality). ˙ ˙ ˙ By Roger Ebert ˙ ˙ ˙ I've seen Shakespeare done in drag. I've seen Richard III as a Nazi. I've seen ``The Tempest'' as science fiction and as a Greek travelogue. I've seen Prince Hal and Falstaff as homosexuals in Portland. I've seen ``King Lear'' as a samurai drama and ``Macbeth'' as a Mafia story, and two different ``Romeo and Juliets'' about ethnic difficulties in Manhattan (``West Side Story'' and ``China Girl''), but I have never seen anything remotely approaching the mess that the new punk version of ``Romeo & Juliet'' makes of Shakespeare's tragedy. ˙ The desperation with which it tries to ``update'' the play and make it ``relevant'' is greatly depressing. In one grand but doomed gesture, writer-director Baz Luhrmann has made a film that (a) will dismay any lover of Shakespeare, and (b) bore anyone lured into the theater by promise of gang wars, MTV-style. This production was a very bad idea. ˙ It begins with a TV anchor reporting on the deaths of Romeo and Juliet while the logo ``Star Crossed Lovers'' floats above her shoulder. We see newspaper headlines (the local paper is named ``Verona Today''). There is a fast montage identifying the leading characters, and showing the city of Verona Beach dominated by two towering skyscrapers, topped with neon signs reading ``Montague'' and ``Capulet.'' And then we're plunged into a turf battle between the Montague Boys (one has ``Montague'' tattooed across the back of his scalp) and the Capulet Boys. When, in an early line of dialog, the word ``swords'' is used, we get a closeup of a Sword-brand handgun. ˙ If the whole movie had been done in the breakneck, in-your-face style of the opening scenes, it wouldn't be Shakespeare, but at least it would have been something. But the movie lacks the nerve to cut entirely adrift from its literary roots, and grows badly confused as a result. The music is a clue. The sound track has rock, Latin and punk music, a children's choir, and a production number, but the balcony scene and a lot of the later stuff is scored for lush strings (and not scored well, either; this is Mantovani-land, a dim contrast to Nino Rota's great music for the Zeffirelli ``Romeo and Juliet'' in 1968). ˙ Much of the dialogue is shouted unintelligibly, while the rest is recited dutifully, as in a high school production. Leonardo DiCaprio and Claire Danes are talented and appealing young actors, but they're in over their heads here. There is a way to speak Shakespeare's language so that it can be heard and understood, and they have not mastered it. ˙ The only actors in the film who seem completely at home, indeed, are Pete Postlethwaite, as Father Laurence, and Miriam Margolyes, as the Nurse. They know the words and the rhythm, the meaning and the music, and when they say something, we know what they've said. The other actors seem clueless, and Shakespeare's lines are either screamed or get all mushy. (Brian Dennehy, as Romeo's father ``Ted Montague,'' would have been able to handle Shakespeare, but as nearly as I can recall he speaks not a single word in the entire movie--a victim, perhaps, of trims in post-production.) ˙ Not that there is much Shakespeare to be declaimed. The movie takes a ``Shakespeare's greatest hits'' approach, giving us about as much of the original as we'd find in ``Bartlett's Familiar Quotations.'' And even then it gets nervous and tarts things up. What can we make of a balcony scene that immediately leads to Romeo and Juliet falling into a swimming pool and reciting their best lines while treading water? I think back to the tender passion of the 1968 version, and I want to shout: ``Romeo! Quick! Poison yourself!'' ˙ The film's climactic scenes are more impressed by action-movie cliches than by the alleged source. Romeo pumps Tybalt full of lead while shouting incomprehensible lines. He tenderly undresses Juliet and they spend the night together. Shakespeare's death scene in the tomb lacked a dramatic payoff for Luhrmann, who has Juliet regain consciousness just as Romeo poisons himself, so that she can use her sweet alases while he can still hear them. ˙ No doubt I will receive mail from readers accusing me of giving away the story's ending by revealing that Romeo and Juliet die. I had my answer all prepared: If you do not already know what happens to the star-crossed lovers, then you are not the audience this movie is aiming for. But, stay, my pen! Perhaps you are. ˙ ˙ Copyright Chicago Sun-Times Inc. ˙ ˙ (Izvinjavam se sto ova poruka sadrzi znakove ˙, ali morao sam da simuliram prazne redove...)
film.105 dr.grba, -> #104, ivantod
>> (Izvinjavam se sto ova poruka sadrzi znakove ˙, ali morao sam da simuliram >> prazne redove...) Na šta si tačno mislio? Zašto da *simuliraš* prazne redove?
film.106 ivantod, -> #105, dr.grba
> Na šta si tačno mislio? Zašto da *simuliraš* prazne redove? Zbog neke greškice u softveru, tokom petka prepodne nije bilo moguće uneti prazan red u poruci -- tj. moguće ga je bilo uneti, ali svi prazni redovi se nisu videli pri čitanju poruke pa je sve delovalo dosta zbijeno. Prazne redove sam simulirao jer nisam znao da li ih samo ne prikazuje ili ih i ne upisuje. Ivan P.S. Da sam ja mmtosic, ovaj odgovor bi verovatno bio još duži nego što je sad. :))) Vidim da je greška popravljena, tako da više neću morati da simuliram. ;)
film.107 dr.grba,
Pažnja! "Naoštrite" svoje video aparate! (: Danas na Politici nešto sasvim posebno: trilogija Kišlovskog! (preuzeto sa servisa TVinfo sa SezamPro) Dakle: 15.45 - Polit : Tri boje: Plavo Francuska-Poljska, 1993, r: Kšištof Kišlovski, u: Žulijet Binoš, Florens Pernel, Benoa Režent Nakon pogibije muža i ćerke u saobraćajnoj nesreći, malda žena pokušava da nastavi normalan život. Međutim, to joj nikako ne uspeva i ona počinje besciljno lutanje 20.01 - Polit : Tri boje: Belo Francuska-Poljska, 1994, r: Kšištof, Kišlovski, u: Zbignev Tamašovski, Džuli Delpi Glavni junak priče, frizer, Karolj, ne može da se prilagodi životu u inostranstvu. Od njega se razvodi žena Franscuskinja zato što nije u stanju da ispunjava bračne obaveze. 23.30 - Polit : Tri boje: Crveno Francuska-Poljska, 1994, r: Kšištof Kišlovski, u: Irena Žakob, Žan Luj Trentinjan, Frederik Feder Studentkinja i manekenka Valentina upoznaje čoveka koga zovu Sudija. One je penzioner, introvertan, cinik koji je, radeći posao sudije, upoznao najnežniju stranu čovečanstva
film.108 chill,
Ima li neko Tarantinove scenarije?
film.109 chill,
Molim sve koji imaju bilo kakve scenarije, da ih pošalju... PS Ako imate da birate između TXT ili DOC fromata, vi pošaljite DOC!!!