31 Aralık 2011 Cumartesi

The Iron Lady (Saturday, December 31, 2011) (130)

The first thing I noticed about Phyllidia Lloyd's The Iron Lady was that the makeup in it is amazing. The film opens roughly in the present day as Margaret Thatcher (Dame Meryl Hepburn Dench Streep), now in her late 80s, is walking around her London flat talking to her dead husband who seems to stick around in her mind as if he was really there. At first glance it really doesn't look like Meryl at all. As much as you look for a terrible wig seam on her forehead or terrible plastic droopy jowl, you can't find any evidence that it's makeup. It's really remarkable (particularly in light of the makeup debacle that just occurred onscreen with J. Edgar).

I was totally expecting that I would hate this movie before I went in to see it. I expected that it was going to show Thatcher as a heroic feminist who fought men and did what was right for her country, while underplaying her major and lasting sins. I have to admit, it was not that bad... though it was really not that brilliant either. Much of the praise of the film will go to Meryl, of course, and more than anything, this feels like a movie created for her, while trying to not offend anyone one any political side (it's really not offensive... which is a bit offensive in its own right).

The film has a typical biopic structure, told mostly through flashbacks. We see present-day Maggie looking back at her life: the daughter of a middle-class grocer with conservative political leanings himself, she went to Oxford and then became a young star in the Tory party. We see her quick rise through the party until she became P.M. in 1990. From there the three major events of her tenure are mentioned and shown, but not dwelled upon. We see the IRA bombing of the Grand Hotel in Brighton, though we never really get much info on that story; we see the Falklands War for awhile, but never really see how she used it to wag the dog and get out of the heat she was taking for the terrible economy (that third thing)... which we don't really see or hear any mention of. Ultimately we see how either because she was losing some level of mental clarity or because she was losing track of sound economic principles, she was shown the door by her party and resigned.

Meryl is much better as the doddering old Maggie than the middle-aged spitfire (young Maggie is played well enough by Alexandra Roach). I think a lot of that comes the fact that the old Maggie is a bit of a subtler performance with small reactions and lots of associations by the audience, while the younger Maggie is filled with all sorts of speechifying and grandstanding, which I've always found to be Meryl's weakness (though I know most people love that stuff from her). I guess I also have to admit that I'm so repulsed by the positions the middle-aged Maggie took that my reaction to that segment of the film was probably not unclouded.

There's a good deal of really cliched and lazy filmmaking here as well. At one moment when we see Maggie walking into Parliament for the first time, we look down a long hallway with windows at the end. Through a lighting trick, the windows are all white and the foreground is dark. As she steps into the frame she's out of focus and is merely a dark spot in a white background. Then the focus racks and she comes into focus as she approaches. This terrible shot is used in terrible TV shows nightly, to say nothing of silly movies. I hate this shot. Later, we see old Maggie in her flat watching the TV as a commentator explains that "she's a polarizing figure because..." and goes on to list her basic resume of achievements and perceived failures. Show, don't tell, Phyllidia. Show, don't tell.

I'm not really sure what Lloyd and screenwriter Abi Morgan (who also co-wrote Steve McQueen's disappointing Shame) are trying to do here. There is no particular emotion that comes out of the film. It's not an intricate take-down of a villain, like Oliver Hirschbiegel's Downfall and it's not a heroic social-political piece like Ford's The Young Mister Lincoln or Eastwood's Invictus. At times the tone felt rather over-the-top and goofy like a film by Bunuel or John Waters (I'm sure John Waters would giggle throughout this film if he were to see it... it's pure camp), though I can't be sure that that was intentional or if the tone was just too earnest at those moments. At one point we hear the song "I'm in Love with Margaret Thatcher" by the Brighton punk band The Notsensibles... but out of context there's an idea that it's actually a pro-Maggie song... which it's not... it's a joke... at least I've always thought it was...

I guess I really should hate this movie because it doesn't tear down someone I hate (I would be throwing this computer across the room if such a polite film about Reagan was released... and I'm sure it's coming). I guess I just was expecting so much more of a story of sacrifice and achievement than this, that what we get was really only lightly painful. She really comes of as a typical silly old lady more than any sort of political hero, and although I wish she had been decimated by this film, I guess that's better than being lionized.

Stars: 2 of 4

Yeni Yılınız Kutlu Olsun

http://martinis93.ma.funpic.de/2012yeniyil.gif 
Yeni yılınızı en içten dileklerimizle kutlarız. Umarız 2012 yılı size şans, mutluluk ve huzur getirir. Ailenizle birlikte nice yeni yılları görmenizi temenni ederiz.
Saygılarımızla,
Sinevadi Ekibiniz,

30 Aralık 2011 Cuma

Bitiş Çizgisi - Finish Line film izle

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Bitiş Çizgisi - Finish Line (Türkçe Dublajdır.)
Filmin Yapım Yılı: 2008
Filmin Yapım Yeri: ABD
Filmin Türü: Aksiyon - Suç
Filmin Süresi: 85 dk.
Filmin Yönetmeni: Gerry Lively
Filmin Oyuncuları: Taylor Cole,  Sam Page,  Scott Baio,  Dan Lauria,  Timilee Romolini,  Lexi Baxter,  Lee Boxleitner,  Jimmy Bridges,  Steve Tom,  John Enos,  Ian Reed Kesler
Filmin Senaristi: Ron McGee
Filmin Yapımcıları: Randy Pope,  Milena Milicevic
Film Hakkında: 2008 yılında yapılmış olan aksiyon ve suç dolu sahneleriyle güzel vakit geçireceğiniz hoş bir yapıt.
Filmin Konusu: Bir ralli şampiyonu, çok zengin biri tarafından işe alınır. Tabi işin sır perdesi daha sonra çözülecektir. Ralli şampiyonu, daha sonra yem olarak kullanıldığını anlayacaktır. Zengin patronunun karanlık işlerle uğraştığını anlayacaktır. Daha sonra FBI ile ortak çalışıp onu yakalamaya çalışacaklardır. Tabi sonuç olarak zengin adam ölecektir ve onun hoş ve güzel kızı ise hapse atılacaktır.
İyi seyirler dileriz.
Not: Filmin 72. dk sından sonrasını izleyebilmek için modeminize reset atıp kaldığınız yerden devam edebilirsiniz. Ya da diğer alternatif videolardan kaldığınız yere sararak filmi izleyebilirsiniz.
Not(2): Ayrıca filmi Putlocker ile izlerseniz herhangi bir izleme sınırı yoktur. Hiç sıkıntı yaşamadan, modeme reset atmanıza gerek kalmadan izleyebilirsiniz.
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A Separation (Friday, December 30, 2011) (129)

Asghar Farhadi's A Separation begins with Nader (Peyman Moadi) and Simin (Leila Hatami) in a courtroom speaking to a judge about getting a divorce. Simin wants her her husband Nader and daughter Termeh (Sarina Farhadi, Asghar's own daughter) to go with her but he refuses, claiming he has to take care of his elderly father in Tehran. As a result they get a separation and she stays in Tehran just the same, with the Termeh living mostly with Nader.

He is a good father, very understanding and honest and she's a very good mother. They are an upper-middle class family with a nice apartment in a nice building. To help him take care of Termeh and his father, Nader hires Razieh (Sareh Bayat) a woman who can help him keep the house and manage things. One day, when he gets very frustrated, Nader after she leaves his father in the middle of the day, he fires her and shoves her out the door rather violently.

This brings about a lawsuit about how much she was really hurt and if Nader caused her to lose the baby she was pregnant with, or if she was hurt by other means. It seems Razieh is working with a handful of lies that might protect her from her husband. Nader is a bit of a scapegoat here for other things that are happening.

The story deals a lot with issues of class and money, reminiscent of themes in films by fellow Iranian filmmaker Abbas Kiarostami. It is clear that Nader and Simin are rich and more European in their tastes. Simin wears a colorful chador (either burgundy, green, lavender or blue), that seems much more liberal and design-forward than the more conservative and traditional one worn by Razieh. Simin also looks a lot more European (and gorgeous) with red hair and less Persian (I am not aware of Iranian minority groups enough to know if Razieh and her husband are from a minority group, such as the Kurds, but the possibility is certainly there). There is also the idea that the rich can do what they want to the poor, even though Nader is being accused of harm that we're almost certain he didn't cause.

Putting this all in context, it is important to be aware of the extreme attention and deference that is paid to the Iranian jurisprudential system, not only in the case of the separation proceedings at the beginning (and end), but later during the trial, when Razieh and her husband sue Nader. The judges seem to be reasonable non-idealists who are looking to do right regardless of politics. There is no criticism of the post-Revolutionary government or the rights of women or poor people. This is presented as a sober tale of lies and hidden facts. Albeit one that involves a good amount of interaction with the courts.

The writing in Farhadi's script is wonderful and all the acting is tremendous, particularly Peyman Moadi, Leila Hatami and Sarina Farhadi. They all deal with their various legal troubles differently, but totally naturally. It is wonderful to see such interesting and powerful acting, when it's not overdone or forced.

At one point near the end of the film, as Termeh talks to Nader about the legal issues they're involved in, she says, "I thought you said this wouldn't be serious," to which he snaps, "Well, it got serious." This is a beautiful and uncomfortable commentary on life and an efficient explanation of a neorealist view of this world. This is a beautiful, dispassionate film and one that explains things simply and effectively.

This is really a film about a man who is a wimp and almost totally emasculated -- not by his wife, but by his own doing. As a quick-fix for his inability to deal with issues, he is constantly scrappily doing small things to changes situations -- mostly for the worse. His wife, on the other hand is clinical and calm and efficient. This is about the choice of who we wish to believe and "life with" -- much like how Termeh has to make a similar decision. Nader is kind and loving, but makes small issues more problematic due to his tinkering; Simin is a bit cold, but calculated and correct. Both approaches can deal with and fix problems in different ways. In the end there is some truth that we're trying to excavate, and each side hopes to be seen as correct.

Stars: 4 of 4

29 Aralık 2011 Perşembe

Yılbaşı Teklifi film izle

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Yılbaşı Teklifi - A Christmas Proposal (Türkçe Dublajdır.)
Filmin Yapım Yeri: Amerika
Filmin Yapım Yılı: 2008
Filmin Türü: Komedi - Romantik
Filmin Süresi: 85 dk.
Filmin Yönetmeni: Michael Feifer
Filmin Oyuncuları: Tom Arnold , Sarah Thompson , David DeLuise , John Colton , Shannon Sturges , Mike Falkow , Gene Richards , Patty McCormack , Mary Morales , Caia Coley , Richard Ryan , Beth Shea , Mike Korich , Joshua Chelmo , Nicole Eggert , Timothy Oman , Abby Box , Jodi Riggins , Susan Zangl , Carl Latin , David Hill
Filmin Yapımcıları: Jeffrey Schenck , Barry Barnholtz , Diane Healey , Michael Feifer , Peter Sullivan , Eric Kiwi , Scott Yamano
Filmin Senaristleri: Jeffrey Schenck , Peter Sullivan
Film Hakkında: Yılbaşına özel filmleri sizler için eklemeye devam ediyoruz. Güzel bir romantik komedi filmi sizlerle...
Filmin Konusu: Yılbaşı Teklifi (A Christmas Proposal) filminde: Sakin kasabanın yıkılıp yerine bir kayak merkezi yapılacaktır. Lisa buna engel olmak istemektedir. Karşısında ise eski sevgilisi olan Avukat vardır. Büyük şehirde yaşayan ve bu dava için kasabaya gelen Rick'in arabası kaza yapar. Rick ve nişanlısı kasabada sıkışıp kalmıştır. Bu dönemde Rick'in hem dava hem de özel hayatı ve eski sevgilisi Lisa hakkında düşünecek zamanı olur ve yeniden aşk kıvılcımları başlar.
İyi seyirler dileriz.
Not: Filmin 72. dk sından sonrasını izleyebilmek için modeminize reset atıp kaldığınız yerden devam edebilirsiniz. Ya da diğer alternatif videolardan kaldığınız yere sararak filmi izleyebilirsiniz.
Not(2): Ayrıca filmi Putlocker ile izlerseniz herhangi bir izleme sınırı yoktur. Hiç sıkıntı yaşamadan, modeme reset atmanıza gerek kalmadan izleyebilirsiniz.
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28 Aralık 2011 Çarşamba

Mucizeyi Kadınlar Yaratır film izle

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Mucizeyi Kadınlar Yaratır - I Dont Know How She Does It (Türkçe Altyazılıdır.)
Filmin Yapım Yeri: ABD
Filmin Türü: Komedi
Filmin Süresi: 89 dk.
Filmin Yönetmeni: Douglas Mcgrath
Filmin Oyuncuları: Pierce Brosnan,  Jessica Szohr,  Sarah Jessica Parker,  Greg Kinnear,  Christina Hendricks,  Kelsey Grammer,  Olivia Munn,  Seth Meyers,  Ronald Scott Maestri,  Timothy Finch,  Emma Rayne Lyle,  Ba Loc Duong,  Michael Dean,  Peter Conboy,  Mark Blum,  Jane Curtin,  John Cenatiempo
Filmin Senaristi: Aline Brosh McKenna
Filmin Yapımcıları: Scott Ferguson,  Aline Brosh McKenna,  Donna Gigliotti
Film Hakkında: Mucizeyi Kadınlar Yaratır filmin ABD de çekilmiş güzel bir komedi filmidir.
Filmin Konusu: 2 çocuğu ve kocası için çalışıp evini geçindirmeye çalışan bir kadının hikayesi komedi dolu sahnelerle anlatılıyor.
İyi seyirler dileriz.
Not: Filmin 72. dk sından sonrasını izleyebilmek için modeminize reset atıp kaldığınız yerden devam edebilirsiniz. Ya da diğer alternatif videolardan kaldığınız yere sararak filmi izleyebilirsiniz.
Not(2): Ayrıca filmi Putlocker ile izlerseniz herhangi bir izleme sınırı yoktur. Hiç sıkıntı yaşamadan, modeme reset atmanıza gerek kalmadan izleyebilirsiniz.
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27 Aralık 2011 Salı

Çatı Katı - Loft film izle

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Çatı Katı - Loft (Türkçe Dublajdır.)
Filmin Yapım Yeri: Hollanda
Filmin Türü: Gizem - Gerilim - Erotik
Filmin Süresi: 108 dk.
Filmin Yönetmeni: Antoinette Beumer
Filmin Oyuncuları: Charlie Dagelet,  Hadewych Minis,  Paloma Aguilera Valdebenito,  Maxim Van Someren,  Chico Kenzari,  Sabine Soetanto,  Jamie Grant,  Carolien Spoor,  Lies Visschedijk,  Dani Stauder,  Anna Drijver,  Kim Van Kooten,  Barry Atsma,  Fedja Van Huêt,  Gijs Naber,  Sallie Harmsen,  Jeroen Van Koningsbrugge,  Katja Herbers
Filmin Senaristleri:
Saskia Noort,  Bart de Pauw
Filmin Yapımcıları: Rachel Van Bommel,  Hilde De Laere,  Sander Van Meurs
Film Hakkında: Filmin adındanda anlaşılacağı üzere filmin konusu 1 çatı katında geçmektedir. Film Hollanda'da çekilmiştir.
Filmin Konusu: Çatı Katı (Loft) filminde: Evli olan 5 yakın arkadaş çatı katı kiralarlar. Metresleriyle beraber güzel vakit geçiren bu beş yakın arkadaş için şimdilik herşey güzel gitmektedir.. Fakat sabah olunca uyandıklarında öldürülmüş bir kadının cansız bedenini bulurlar. Bu 5 arkadaş birbirlerinden şüphelenmeye başlar ve birbirlerini pekte iyi tanımadıklarını anlayacaklardır.
İyi seyirler dileriz.
Not: Filmin 72. dk sından sonrasını izleyebilmek için modeminize reset atıp kaldığınız yerden devam edebilirsiniz. Ya da diğer alternatif videolardan kaldığınız yere sararak filmi izleyebilirsiniz.
Not(2): Ayrıca filmi Movshare ile izlerseniz herhangi bir izleme sınırı yoktur. Hiç sıkıntı yaşamadan, modeme reset atmanıza gerek kalmadan izleyebilirsiniz.
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26 Aralık 2011 Pazartesi

Command Performance film izle

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Command Performance ( Türkçe Dublajdır.)
Filmin Yapım Yılı: 2009 
Filmin Yapım Yeri: ABD
Filmin Türü: Dram - Gerilim - Aksiyon
Filmin Süresi: 100 dk.
Filmin Yönetmeni: Dolph Lundgren
Filmin Oyuncuları: Dolph Lundgren,  Dave Legeno,  Shelly Varod,  Clement Von Franckenstein,  Katarzyna Wolejnio,  Slavi Slavov,  Robin Dobson,  Ida Lundgren,  Melissa Smith,  Naum Shopov,  Raicho Vasilev,  Ivaylo Geraskov,  James Chalke,  Hristo Shopov,  Zahary Baharov
Filmin Senaristleri: Dolph Lundgren,  Steve Latshaw
Filmin Yapımcıları: Les Weldon,  Danny Lerner
Film Hakkında: Command Performance filmi 2009 yılında ABD de çekilmiş olan gerilim ve aksiyon sahneleriyle güzel bir yapıt olmuş.
Filmin Konusu: Command Performance filminde; Rusya’nın sevilen pop starı ve başkanının ailesiyle birlikte Rock Konseri sırasında kaçırılması üzerine onları kurtarmak bir baterist ve eski motorsikletçiye kalıcaktır..
İyi seyirler dileriz.
Not: Filmin 72. dk sından sonrasını izleyebilmek için modeminize reset atıp kaldığınız yerden devam edebilirsiniz. Ya da diğer alternatif videolardan kaldığınız yere sararak filmi izleyebilirsiniz.
Not(2): Ayrıca filmi Putlocker ile izlerseniz herhangi bir izleme sınırı yoktur. Hiç sıkıntı yaşamadan, modeme reset atmanıza gerek kalmadan izleyebilirsiniz.
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25 Aralık 2011 Pazar

Dev Pirana - Mega Piranha film izle

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Dev Pirana - Mega Piranha (Türkçe Dublajdır.)
Filmin Yapım Yeri: ABD
Filmin Türü: Korku - Gerilim - Bilim Kurgu - Aksiyon
Filmin Süresi: 92 dakika
Filmin Yönetmeni: Eric Forsberg
Filmin Oyuncuları: Cooper Harris,  Jude Gerard Prest,  Barry Williams,  Jillian Easton,  Jesse Daly,  William Morse,  Paul Logan,  Tiffany ,  Jonathan Nation,  David Labiosa,
Filmin Senaristi: Eric Forsberg
Filmin Yapımcıları: Stephen Fiske,  David Michael Latt,  David Rimawi,  Paul Bales
Film Hakkında: Filmin adındanda anlaşılacağı üzere olağan üstü bir şekilde dev bir pirananın dehşet saçtığı sahneler yer alıyor. Film ABD'de çekilmiştir.
Filmin Konusu: Dev bir pirana insanlara dehşet saçıyor. Artık yapılacak tek şey bu dev piranaya karşı şavaşıp mücadele etmektir.
İyi seyirler dileriz.
Not: Filmin 72. dk sından sonrasını izleyebilmek için modeminize reset atıp kaldığınız yerden devam edebilirsiniz. Ya da diğer alternatif videolardan kaldığınız yere sararak filmi izleyebilirsiniz.
Not(2): Ayrıca filmi Putlocker ile izlerseniz herhangi bir izleme sınırı yoktur. Hiç sıkıntı yaşamadan, modeme reset atmanıza gerek kalmadan izleyebilirsiniz.
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Extremely Loud and Incredibly Close (Sunday, December 25, 2011) (128)

So this is this movie based on Jon Foer's much-heralded book. It takes place in the days after September 11, 2001, when young boy Oskar Schell (Oskar with a K because his parents both read Gunter Grass in college) (Thomas Horn) is having difficulty dealing with the fact that his dad, Thomas (Thomas Hanks), was caught on the 105th floor of the World Trade Center and died a lot. Oskar has Aspbergers and is a fucking annoying and weird kid. For some weird reason he seems to be in no sort of therapy, either for his disorder or for the fact that he's a kid whose dad just died in a horrible tragedy. But that's cool... and totally the way Upper West Side Jews relate to the world. Totally.

So he starts snooping through his dad stuff and finds a key in an envelope that has the word "Black" written on it. He decides that this is some sort of posthumous game his dad has arranged for him, so he goes off on a long journey to find this Black person and figure out what the key means by visiting all the people with the name "Black" in New York City. Along the way he meets his long-lost grandfather who no longer speaks ... but we don't know why and never find out... and he meets a black couple in Fort Greene who are getting a divorce, but give a shit about Oskar for no particular reason.

There are so many layers of shit to dig through in this story, let alone the presentation on screen, that it's hard to know where to begin. Why does Oskar have to be on the Asperberger's spectrum? Why does Tom Hanks have a terrible New Yawk accent in some scenes and not in others? (Answer: looping.) Why does the grandfather not speak and why should I care about that? Why would a mother let her sorta special-needsy son walk around without her (even if she scouts the locations first)? (And how on earth does she have time to scout the locations for him?)

To say that Thomas Horn is annoying is like saying that Hitler wasn't fond of Jews. There really aren't words for whatever Horn is in this film. "Repulsive" comes to mind. It's impossible to align with the kid because his way of talking and looking at the world is so precious and otherhumanly that I could only be totally turned off by him. He's a totally concocted persona whose artifice is on display to all. And he carries around a fucking tambourine that somehow soothes his soul (like how watching Judge Wapner soothed Raymond Babbitt) so every time we see him walking around New York (which is about 80% of the film) he's ringing a goddamn tambo. Ugh!

I've said here before that movies about September, 11 are cheap because it's just simply too soon to have any perspective on. I had my own experience that day and I don't care about a fucking annoying kid's experience. What's more insipid here is that the fact that Thomas Schell died that day has nothing to do with the story. It's sentimental shorthand of the most vile variety. All that matters is that he dies - he could have simply chocked on a bagel and lox any other day in history. That would have been random and unfair. This is just manipulative garbage that tries to help understand what Oskar is feeling, but really just sets us spinning in a cycle of "I remember where I was on that day when..." - which really isn't story telling at all.

This is a movie about fathers and sons. Big fucking deal. Yet somehow it became a story about pain in the wake of September 11. It's all nonsense.

Stars: 1 of 4

THE GIRL WITH THE DRAGON TATTOO - Now In English!

THE GIRL WITH THE DRAGON TATTOO (Dir. David Fincher, 2011)





Despite the fact that the opening title sequence, a montage of shiny black bondage imagery synched to Karen O and Trent Reznor’s blaring cover of Led Zeppelin’s “Immigrant Song”, is as in-your-face as the director can get, this is oddly the least stylish of David Fincher’s films.



It’s clear that Fincher and screenwriter Steven Zaillion have set out to do a second adaptation of Stieg Larsson’s bestselling novel (the 1st in the “Millenium” trilogy), rather than a remake of the 2009 Swedish film, but it so often follows the storyline in the same icy manner that it feels unshakably redundant.



That is, unless you absolutely can’t stand subtitles and will only watch movies in English. Then this is the version for you.



Taking a break from Bond, Daniel Craig takes on the part that Michael Nyqvist (who can be seen currently as the villain in the new MISSION: IMPOSSIBLE movie) originally played in the Swedish THE GIRL… series, financial magazine reporter Mikael Blomkvist, who accepts an offer from wealthy industrialist Henrik Vanger (Christopher Plummer) to investigate a 40 year old disappearance right after he loses a libel suit.



In order to do research on the long missing person, Plummer’s great niece Harriet (a teenager at the time of abduction), Craig is provided with a guest house on the fictional Hedeby Island in Stockholm that is inhabited by the suspicious members of the family, including an extra creepy Stellan Skarsgård. Plummer calls his relations: “The most detestable collection of people you will ever meet.” When we learn secrets of Nazi connections and sexual abuse, we know that’s no exaggeration.



Craig is being investigated himself, by the punk bad-ass hacker Lisbeth Salander played by Rooney Mara, who does a great job matching Noomi Rapace’s pointed portrayal. Mara is definitely the best thing about this one.



Craig and Mara soon start working together on the case, in procedural sequences that echo Fincher’s ZODIAC, and getting it on – in sex scenes way steamier than the original’s, so it wins on that front.



This version of THE GIRL WITH THE DRAGON TATTOO has moments of sublimity, but never gels enough to have an identity of its own. Craig, who plausibly plays a character way less confident than the iconic 007, and Mara have palpable chemistry, but when it comes down to the love triangle ending, involving a wooden Robin Wright waiting in the wings, we never feel like the leads are supposed to be together anyway so the emotional impact falls flat.



I know there will be plenty of folks who will go to see this movie who haven’t seen the original Swedish one, and they will likely be more satisfied with this one than I am. I mean, it has higher production values, “name” actors, and, yes, it is in English. 





However, for folks already familiar with this material, these elements have the unfortunate effect of reducing Larsson’s scenarios into just slightly above average American thriller fare.



More later...

24 Aralık 2011 Cumartesi

A Couple Of Spielbergers To Go: One With Extra Cheese, One With Extra Action



WAR HORSE & THE ADVENTURES OF TINTIN








Without a doubt, Steven Spielberg is the most celebrated film maker of our times.



With JAWS, he practically invented the notion of the event blockbuster, and his movies, including the iconic Indiana Jones series and the JURASSIC PARK franchise, have grossed billions more than any other film maker could imagine.



This year, along with the usual CGI-saturated multiplex mayhem that owes a debt to the man, Spielberg was paid tribute to in Greg Mottola’s sci-fi fanboy satire PAUL (in which he had a voice only cameo), and J.J. Abram’s CLOSE ENCOUNTERS/E.T. homage SUPER 8 (which he co-produced).



‘Tis the season for Spielberg to step up to the plate himself, as the man has 2 movies to unleash on holiday movie-goers: the WW I epic drama WAR HORSE, and the CGI-animated THE ADVENTURES OF TINTIN. Both are set in the first half of the 20th century, and both are, you know, for kids!



WAR HORSE evokes the golden age of Hollywood, when movies were first making the change from black and white to vivid Technicolor. A friend, Will Fonvielle, said it was “like a John Ford” film, and that nails it precisely – so much so that it looks like every other critic is making the comparison. In telling the simple story of a horse named Joey, who leaves a small farm in the English county of Devon to serve in the first World War.






Through a series of extremely well orchestrated battle scenes, Joey goes from serving the British to aiding the German army, before finding his way back to his original owner Jeremy Irvine.






Emily Watson and Peter Mullan play Irvine's parents, with Tom Hiddleston, David Thewlis, and Benedict Cumberbatch portray solidiers in the trenches, but, hey, you know it's all about the horse, as we can see in lots of Joey's close-up reaction shots.






Spielberg heavily lays on the sentiment, John Williams’ score leaves no moment unpunctuated by swelling strings, and long-time Spielberg cinematographer Janusz Kamiński fills the screen with gorgeous scenery that looks like it was all shot at golden hour.






In other words, WAR HORSE is another powerfully cheesy crowd pleaser by the master of powerfully cheesy crowd pleasers.









Based on the world popular, yet not so well known in America, series of comic books by Belgian writer/artist Hergé, THE ADVENTURES OF TINTIN is also a crowd pleaser, but one that tries way too hard. I read the Tintin books when I was a kid, and I really don’t remember them being jam packed with high octane action, yet that’s what you get in Spielberg’s first animated film as director.






Spielberg was reportedly turned onto Tintin when a critic made a comparison between RAIDERS OF THE LOST ARK, and the globe-trotting tales of Hergé’s boy hero, and therein lies the problem – even with the involvement of purist Peter Jackson (co-producer), Tintin and his world is too Indiana Jones-ified.






Tintin, voiced by Jamie Bell, and his white fox terrier Snowy (who like all animals in Spielberg movies is as smart or smarter than the humans - a trait he must’ve learned from Disney), join with the crusty boozing Captain Haddock (a hilarious but often indecipherable Andy Serkis), and the bumbling cops the Thompson Twins (Simon Pegg and Nick Frost), on a wild treasure hunt involving scrolls found in model ships, which are sought by the sinister Ivan Ivanovitch Sakharine (Daniel Craig).






The performance capture imagery has come a long way since THE POLAR EXPRESS, with beautifully brisk vistas flashing by as Tintin engages in chases, fights, and all kinds of frantic, fast paced fury, but it’s way too busy to be truly engaging.






The plot may be impenetrable to those unfamiliar with the books, John Williams’ score cribs too heavily from his Indiana Jones soundtrack work, and it has a way too blatant set-up for a sequel, a la the end of BACK TO THE FUTURE (which, of course, Spielberg executive produced), but a franchise is what Jackson and Spielberg have been planning for ages, so that’s a given.






That said, the fun witty spirit of the original Tintin does rear its head every now and then. If only they slowed down the onslaught of nonstop thrills enough to get a better glimpse of it.






It’s funny to note that even in an animated Spielberg feature there’s lens flare going on. Old habits die hard, huh?






Despite their ample defects, WAR HORSE and THE ADVENTURES OF TINTIN, are both prime popcorn pictures that don’t care about anything but entertaining tons of people.






That they will do this Christmas weekend, when many folks will be looking for a good excuse to get out of house. Spielberg’s brand of family friendly fare will surely suffice.




More later...


In the Land of Blood and Honey (Saturday, December 24, 2011) (127)

In the Land of Blood and Honey is allegedly the directorial and writing debut of Angelina Jolie. I shouldn't really say allegedly, because there's no evidence that she didn't totally write this on her own and direct it on her own... but it is curious that someone who has only ever acted (and maybe "produced" movies) and has never really been on the creative side of movies has single-handedly written and directed a film about a historical event (in a rather obscure foreign language) that has nothing to do with her own experience. I'm just sayin'...

Anyhow, the film takes place during the Bosnian war in Sarajevo where a Muslim woman, Ajla (Zana Marjanovic), and a Bosnian man, Danijel (Goran Kostic), fall in love. He's the son of one of the Bosnian senior generals and is a big military person himself. As Muslims are rounded up in the city, Danijel is able to save Ajla and keep her in a room in his command station. This causes trouble for both of them as different military people, some of whom resent his nepotistic status, find out about their relationship arrangement.

This is a good movie; there is nothing particularly brilliant about it and nothing really bad about it. In terms of romantic war movies, I'd say this is is above average -- it's not too sentimental or fantastical. Meanwhile, it has basically no style to speak of, but it's effective in telling a story and getting certain emotions across when Jolie wants them. Before I praise her for this work I'd like to see more of what she can do to make sure it's not just an aberration.

Stars: 2.5 of 4

Corman's World: Exploits of a Hollywood Rebel (Saturday, December 24, 2011) (126)

This documentary looks at the life and work of Roger Corman, sometimes referred to as the "King of the Bs" (as in "B movies,"or some such variation) and how he has managed to produced and direct about 400 movies over a 50-year career. He's always been on the outside of Hollywood, working on incredibly small budgets, raising the exploitation genre to new heights.

There are wonderful clips from some of his best-loved films (The Little Shop of Horrors, and The House of Usher), some of his worst films (The Terror, The Voyage to the Planet of Prehistoric Women) and some of his most odd-ball stuff (Teenage Cave Man), as well as tons of interviews with directors, actors, writers and producers who came out of the "Corman Film School," such as Jack Nicholson, Martin Scorsese, Ron Howard, William Shatner, David Caradine, Peter Fonda and Bruce Dern, to name a few. They all have great stories to share about making terrible movies on low budgets.

There are some wonderful historical details shared, such as when Corman was distributing foreign films by Bergman, Kurasawa, Antonioni and Fellini for a period in the '70s, and how he managed to get Bergman's Cries and Whispers shown (for a short period) at a drive-in who was used to showing his movies. Producer Gale Anne Hurd has probably the most interesting line of the film when she says that with the rise of the Hollywood blockbuster and the marginalization of Corman, you look at some of the big-budget action/sci-fi/horror flicks in theaters today and you realize that they're basically Corman-style exploitation and that he could have done any of them better and much, much cheaper. It's probably totally true.

Stars: 3 of 4

Buz Devri Bir Yılbaşı Macerası film izle

http://1.bp.blogspot.com/-VhmYcmBKDlU/Tt-TCUhWLsI/AAAAAAAAAJI/RTLxaJqKShg/s1600/Ice+Age+A+Mammoth+Christmas+%255B2011%255D+BRrip.jpg
Buz Devri: Bir Yılbaşı Macerası  Ice Age: A Mammoth Christmas (Türkçe Dublajdır.)
Filmin Yapım Yılı: 2011 
Filmin Yapım Yeri: ABD
Filmin Türü: Aile - Çocuk - Animasyon - Komedi
Filmin Süresi: 25 dk.
Filmin Yönetmeni: Carlos Saldanha
Film Hakkında: Yılbaşının yaklaştığı bu zamanlarda Buz Devri filmi yapımcılarının yılbaşı için yapmış olduğu 25 dakikalık bir kısa filmdir.
Filmin Konusu: Buz Devri Bir Yılbaşı Macerası filminde; Sid, kazayla Manny'nin yadigar Yeniyıl taşını kırar ve Noel Baba'nın yaramazlar listesine girer. Bu yanlışlığı düzeltmek için de Kuzey Kutbu'na gitmeye karar verir, ama her şey daha kötüye gider. Şimdi her şeyi düzeltmek ve tüm dünyanın Yeni Yıl'ını kurtarmak Manny'nin ve onun tarih öncesi ekibinin elindedir.
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23 Aralık 2011 Cuma

Margaret (Friday, December 23, 2011) (124)

I first heard of Margaret when it was playing in a theater in New York in September, I read a scathing review of it and spoke to a friend who told me it was terrible, so I avoided it. Then it appeared on a handful of Best of 2011 lists, so I felt like maybe it was the sort of unusual or difficult movie that I frequently like and that it was only rejected because it didn't fit some prescribed genre specifications. When it was briefly re-released in New York I jumped at the chance to see it. Sadly, it is unusual and doesn't fit any genre specifications... and is pretty terrible.

Some quick back story: Kenneth Lonergan, who wrote and directed You Can Count on Me, which I think is great, wrote this film in 2003 and shot it in 2005 (so says Karina Longworth in her rave review of it from the Village Voice). He then took 6 years to cut the film down to under 150 minutes (it's now 149!!). Apparently he just couldn't do it for a long time. Then there were a few law suits about it (he broke a contract, I imagine the producers wanted out or their money back...). Now it's released. And it's really long.

The idea of the film is that it's about a girl, Lisa Cohen (Anna Paquin), who lives on the Upper West Side with her actress mother. Her father lives in LA with his new, younger wife, and she is a bit of a typical, smart, Jewish teenager. She's glib and talks back to adults, she's interested in sex, though generally apprehensive about it, she's precocious because she lives in New York City. At some point she flirts with a bus driver (Mark Ruffalo) who then gets distracted and his and kills a pedestrian.

Feeling guilty about the death, she sets her mind to sue the bus company for the driver's negligence and get money for the pedestrian's family. In the meantime, she flirts constantly with her youngish high school teacher (Matt Damon), has sex with some kid (Kieran Culkin) (I hope they can date sometime so they can be called "Culquin" by the paparazzi!) and becomes friends with a fucking annoying Upper West Side woman who is the friend of the dead lady. There's also a story about her mother who starts dating Jean Reno (who is Colombian in this... whatever) until he dies unexpectedly. The movie is about the lies that surround us on a daily basis and how we have to create stories to manage our lives.

The problem is that there's really no structure to the narrative, it's just a lot of Lisa going around talking to people and making bad decisions. There's no reason huge chunks of this film couldn't have been cut to make it closer to 100 minutes. It's like an abstract painting - sure, sometimes the size and scale of the work is what it's about, but generally a corner of the canvas covered in an abstract design means as much as any other corner, doesn't it? If this film is unbalanced and long and is about how life has no internal logic, then why not make it a shorter version of that? Isn't that what watching movies is about - a director telling you a very specific story?

I found Paquin to be annoying and overdone, mostly struggling through her Paquinese that sounds more southern than New Yawk (and this was made before True Blood was a faint speckle in her Triple-D brassiere). The supporting cast is so chopped up into random half-fragments of scenes that nobody really gets much time to develop or expand on screen. Ruffalo and Damon are pretty good - though they're generally good actors, so that's no surprise.

Mostly this feels like a project that Lonergan started honestly and got too tied up in details, forgetting the basic story he was trying to tell (I'm not sure what that seed was, really). He really just needs a good story/script editor to begin to make it a watchable film. It feels like if he had been asked to start from scratch and rewrite the whole thing, some things would have stayed and some things would have fallen away and we would have been left with a better final film. Instead we have all sorts of random secondary and tertiary stories that really don't mean much, are redundant or confusing.

Stars: 1 of 4

Pina 3D (Friday, December 23, 2011) (125)

Pina is a wonderful dance documentary by Wim Wenders about the work of the modern dancer and choreographer Pina Bausch. But it's much more of a documentary in the document element of the term - it's really a dance recital, or the presentation of several of Bausch's best-known and loved works, as there's not much biography in the picture. Wenders weaves these performances, presented by Bausch's Tanztheater Wuppertal and the dancers who knew and loved her (she died in 2009, just as filming was commencing), with brief testimonies by these dancers about their art and their love for Pina.

I had the opportunity to see this film in 3D and I have to say it was totally a wonderful experience. I normally find the 3D process to be disorienting and irrelevant to the movie watching process. Most films shown in 3D aren't really enhanced by the perspective. Some of the best 3D films play with a meta-concept of the format, so it's enjoyable to watch it in a "third dimension," partly because the director is making a point about the experience of watching or a joke about 3D films of yore (House of Wax, Dial M For Murder, etc.). Here, however, Wenders uses the 3D to really put you inside the dance performance. I know that sounds really annoying and cliché, but it's totally true. The way it's shot, with cameras onstage between the dancers, you lose track of the end of the stage, the proscenium and where/who is the audience.

To further enhance this submersive experience, Wenders shoots a good amount of the dance pieces on the Wupperthal Schwebebahn, a hanging tram line that runs through Wupperthal (OK - how did I never know this existed? It's amazing!). What results is the most visceral flying experience I've had since I saw To Fly! in IMAX at the Air and Space Museum in the early '80s. You're actually hanging over a city, over a river, and the sensation is breathtaking (regardless of the dancing).

I also happen to love the concept that the Schwebebahn was built in the early 20th century, as a crowning achievement of the Industrial Age, and that we're now experiencing it a century later, in 3D, an achievement of the digital age. I expect that's part of modern dance and performance, bridging generations and centuries. How lovely.

Stars: 3 of 4

Urbanized (Friday, December 23, 2011) (123)

Urbanized is the third part of director Gary Hustwit's design series (is it a proper series? I'm going to call it a series.). Helvetica was his brilliant examination of the modernist typeset, Objectified was a less wonderful survey of contemporary design of things we use on a daily basis and now this film is a look at the design of cities. He explores how towns end up looking like they do and how municipalities have tried innovations to make things more useful or more beautiful and how sometimes people respond negatively to these changes.

Hustwit makes beautiful looking films filled with wonderful photography, this time by Luke Geissbuhler, and interesting shots of things that we might take for granted (like the sun setting over a highway). There are some absolutely wonderful transitions from one chapter to another here, one element that is rarely used but really helps in documentaries.

There are a bunch of talking-head interviews with international "starchitects," including Rem Koolhaus, Norman Foster, Oscar Niemeyer and designer/critic Michael Sorkin. Overall this is a pretty, fun and interesting film. It's much better than Objectified, but not nearly as good as Helvetica.

Stars: 3 of 4

12 Noel Adamı - 12 Men of Chtistmas film izle

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12 Noel Adamı - 12 Men of Chtistmas (Türkçe Dublajdır.)
Filmin Yapım Yılı: 2009
Filmin Yapım Yeri: ABD
Filmin Türü: Romantik - Komedi
Filmin Süresi: 95 dk.
Filmin Yönetmeni: Arlene Sanford
Fİlmin Oyuncuları: Kristin Chenoweth,  Anna Chlumsky,  Aaron Abrams,  Jessie Pavelka,  Stacey Zurburg,  Josh Hopkins,  Stephan Dubeau,  Paul Christie,  Erin Dilly,  Brendan Hunter,  Skerivet Daramola,  Vanessa Holmes,  Monice Peter,  Matt Embry,  Mark Bellamy,  Paul Constable,  Lynley Hall,  Ryan Northcott,  Marianne Muellerleile,  Jefferson Brown,  Stephen Huszar,  Peter Mooney,  Chantal Perron,  Frank Chiesurin,  Carrie Colak,  Joe Norman Shaw,  Heather Hanson,  Craig Eldridge
Filmin Senaristi: Jon Maas
Filmin Yapımcısı: Greg Copeland
Film Hakkında: Yılbaşının yaklaştığı bu günlerde böyle bir film izlemenin anlamlı olacağını düşündük. Güzel bir romantik komedi filmi.
Filmin Konusu: Bir kadın, kocası tarafından aldatılınca kendini çok yalnız hisseder. Daha sonra ne yapacağım diye düşünürken aklına bir noel takvimi yapmak gelir. Bu takvimde her yılı temsil eden yakışıklı erkeklerin listesini ekler ve tabi kendini hayır işlerine adar...
İyi seyirler dileriz.
Not: Filmin 72. dk sından sonrasını izleyebilmek için modeminize reset atıp kaldığınız yerden devam edebilirsiniz. Ya da diğer alternatif videolardan kaldığınız yere sararak filmi izleyebilirsiniz.
Not(2): Ayrıca filmi Putlocker ile izlerseniz herhangi bir izleme sınırı yoktur. Hiç sıkıntı yaşamadan, modeme reset atmanıza gerek kalmadan izleyebilirsiniz.

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22 Aralık 2011 Perşembe

The Girl with the Dragon Tattoo (Thursday, December 22, 2011) (122)

I recently re-read my review of the Swedish adaptation of The Girl with the Dragon Tattoo from last year in advance of seeing this newer update from David Fincher and screenwriter Steven Zaillian (it's fine, you can tell me my methods are unfair). After seeing this new version, I can tell you it's almost exactly the same movie and the things I said about that version I would say again here.

This film has a nice fast pace, the acting is solid throughout -- even considering the corny Swedish accents all the actors have to use (including the honest-to-goodness Swedes in the cast who almost sound more American than anything else) -- there is nothing particularly Swedish or Scandanavian in feeling in the style here (sorry, Ingmar and Carl Theodor), and overall it's a fun, pulpy movie that leads you down six different roads and pulls them all back together nicely at the end.

The story has not changed much from the book (which I've never read) or that other movie. Mikael Bloomkvist (Daniel Craig) is a journalist who starts to research a murder on a remote island for a billionaire industrialist. At some point he hires a research assistant, Lisbeth Salander (Rooney Mara), who has a checkered life, an awesome libido and an inky back. The deeper they dig into this family history, the more they find Nazism, sexual abuse and weird culty murders. Add on top of this a sprinkling of leather camp and sexual torture and you got yourself a blockbuster!

It's hard to say if this is a particularly Fincher-ific movie. Much of the story happens to take place at night (when Fincher really comes alive, like the cyber-noir director he's meant to be), the heroine is written as a Goth who rides a motorcycle and there's already some delicious torture porn elements to the story. Having never read the book and only knowing the story from the Swedish film, I can't say much about any details that were in the book that Fincher extracted or what he might have injected himself, but I will say that this seems like a generally light amount of Fincherese (mostly seen in the sex torture parts). Mostly this feels like a very well made, polished Hollywood movie -- a bit of a director-for-hire piece than any standout in his oeuvre (like Se7en, Fight Club or Zodiac are).

There's really nothing negative to say about this film. It's very long (as was the Swedish version... I guess that's the result of a long and intricate book... and I'd much rather a 160-minute movie to a two-part piece, like they did with the last books of the Harry Potter or Twilight series), very detailed and somewhat complex in terms of familial relationships and who did what to whom and when. I guess I would say that all of that is a bit of complexity for complexity's sake; I'm not sure it's a particularly richer movie because of the baroque plot. It's a bit of bread and circus, but it's pretty tasty.

Stars: 2.5 of 4

Sherlock Holmes: A Game of Shadows (Thursday, December 22, 2011)(121)

Much like its steam-punk aesthetic, Sherlock Holmes 2 spends a lot of time spinning its wheels making a simple story really, really complicated, in the end being effective, but much more complicated than is necessary. This is an action movie, not a mystery. It has much more in common with Batman or James Bond (in Victorian machines) than it does with Basil Rathbone or Jeremy Brett.

The story here is much too multi-layered and unnecessarily veiled to get into in detail here, but generally is seems that Holmes and boyfriend Watson are chasing Moriarty around Europe for no reason, until it becomes clear that Moriarty wants to start World War I 25 years early. There are lots of fun set-ups with classic film chestnuts (formal-dress balls, trains, ships in shipyards, waterfalls, chases through forests) that all lead to an elaborate, clever finale involving a literal and meta chess game.

It's filled with typical Guy Ritchie jump cuts and crash zooms, this time spiced up with lots of fun slow-mo affectations. There's also lots of fun homoeroticism and opium jokes, played for laughs rather than sadness or love (which is rather disappointing... though I totally understand that gayness isn't half as entertaining as fake gayness).

This is a big movie with a lot of big action scenes. It's very light on the brain and heavy on special effects. All in all a fun ride, but rather shallow ... exactly as a holiday blockbuster should be!

Stars: 2.5 of 4

Killer Mountain film izle

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Killer Mountain (Türkçe Dublajdır.)
Filmin Yapım Yeri: ABD
Filmin Türü: Gerilim - Bilim Kurgu
Filmin Süresi: 80 dk.
Filmin Yönetmeni: Sheldon Wilson
Filmin Oyuncuları: Crystal Lowe,  Torrance Coombs,  Paul Campbell,  Zak Santiago,  Aaron Douglas,  Mig Macario,  Robin Nielsen,  Curtis Caravaggio,  Byron Lawson
Filmin Senaristleri: Peter Sullivan,  Sheldon Wilson
Filmin Yapımcıları: Chris Bartleman,  Jeff Schenk,  Roma Roth,  Charles Bishop
Film Hakkında: Killer Mountain filmi gerilim dolu sahneleriyle sizi ekran başına kilitleyecek. Kaçırmayın.
Filmin Konusu: Ölümcül bir dağ, adeta kıyamet vakti gibi. Dağ tırmanıcıları soğuk bir kış günü bir çılgınlık yapıp dağa tırmanırlar. Ama iş sanıldığı gibi kolay değildir. Artık hayat mücadelesi verme vakti gelmiştir. Hayatta kalmak için ellerinden gelen herşeyi yapacaklardır.
İyi seyirler dileriz.
Not: Filmin 72. dk sından sonrasını izleyebilmek için modeminize reset atıp kaldığınız yerden devam edebilirsiniz. Ya da diğer alternatif videolardan kaldığınız yere sararak filmi izleyebilirsiniz.
Not(2): Ayrıca filmi Putlocker ile izlerseniz herhangi bir izleme sınırı yoktur. Hiç sıkıntı yaşamadan, modeme reset atmanıza gerek kalmadan izleyebilirsiniz.
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21 Aralık 2011 Çarşamba

Khodorkovsky (Wednesday, December 21, 2011) (120)

Khodorkovsky is a documentary about the Russian oil oligarch Mikhail Khodorkovsky, formerly the richest man in Russia and one of the richest people on the planet. This shows his rise to billions, his run as an influential man in Russian and World politics and philanthropy and his ultimate fall, after crossing president/emperor Putin.

As with all oligarchs, he gained his wealth quickly as the former communist state sold off it's industries to a handful of individuals for little or no money. Khodorkovsky, a chemist working in oil extraction, got lucky and was given (well, basically given) the oil fields in Siberia. But things got tricky as he started to diverge from Putin and move to the left (or is it the right...? Russian politics baffle me). He was more interested in more government transparency and the progressive opposition. In 2003 his company, a main rival of the national gas service, was taken over by the government and he was jailed for tax evasion (probably a trumped-up charge). He's been in jail ever since.

The story is told mostly through television footage, interviews with Khodorkovsky's former colleagues and a series of stylized black-and-white animated segments (for the parts where there is no archival footage). I happen to dislike the look of the animation, it's all a bit too modern and stylistic for no reason. The third act of the film, where Khodorkovsky is in jail and interviewees are discussing his reason for not fleeing the country before he was arrested (which he could have done very easily), is a bit long and dull. I think at 111 minutes, the film is about 20 minutes too long and would have held together better if more was taken out.

There is a wonderful metaphor at the tail of the film of the suburban subdivision for billionaires outside of Moscow, where all of these heads of companies lived next to one another with gates around them and watch towers above safeguarding them - or imprisoning them. Nowadays many of the residents have been arrested for various political reasons, and the houses are largely vacant, aside from the servants who still live in them, keeping food in the fridges is if their bosses could return at any moment. There's a wonderful and evocative existentialist notion... I just think it takes too long to get there.

Stars: 2.5 of 4

Son Durak 5 - Final Destination 5 film izle

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Son Durak 5 - Final Destination 5 (Türkçe Dublajdır.)
Filmin Yapım Yılı: 2011 
Filmin Yapım Yeri: ABD
Filmin Türü: Korku - Gerilim - Gizem - Gençlik - Fantastik
Filmin Süresi: 91 dk.
Filmin Yönetmeni: Steven Quale
Filmin Oyuncuları: Nicholas Dagosto,  Micah Sloat,  Emma Bell,  Tony Todd,  Devon Sawa,  David Koechner,  Mark Callaway,  Joy Lauren,  Courtney Vance,  Meghan Ory,  Mike Dopud,  Dawn Chubai,  Chasty Ballesteros,  Nicholas D\'agosto,  Tim Fellingham,  Andy Nez,  Miles Fisher,  Jeffrey Stubblefield,  Ellen Wroe,  Ryan Hesp,  Frank Topol,  Jodi Balfour,  Brittany Rogers,  Grace Baek,  Jasmin Dring,  Brent Stait,  Michael Adamthwaite,  June B. Wilde,  Roman Podhora,  P.J. Byrne,  Barclay Hope,  Arlen Escarpeta,  Jody Latham,  Link Baker,  Blaine Anderson,  Tanya Hubbard,  Ian Thompson,  Diana Pavlovska
Filmin Senaristleri: Jeffrey Reddick,  Eric Heisserer
Filmin Yapımcıları: Craig Perry,  Warren Zide,  Richard Brener,  Sheila Hanahan,  Erik Holmberg,  Jason Koffeman,  Matthew Hart,  John Rickard
Film Hakkında: Son Durak filmi tüm serileriyle büyük bir yankı uyandırdı. Bu serisindede çok korkunç ve gizemli sahneler yer alıyor. Son Durak hayranlarına duyrulur.
Filmin Konusu: Diğer serilerindede olduğu gibi bir genç gelecekten ipuçları görmektedir ve bunlar bir bir gerçekleşmektedir.
İyi seyirler dileriz.
Not: Filmin 72. dk sından sonrasını izleyebilmek için modeminize reset atıp kaldığınız yerden devam edebilirsiniz. Ya da diğer alternatif videolardan kaldığınız yere sararak filmi izleyebilirsiniz.
Not(2): Ayrıca filmi Putlocker ile izlerseniz herhangi bir izleme sınırı yoktur. Hiç sıkıntı yaşamadan, modeme reset atmanıza gerek kalmadan izleyebilirsiniz.
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MISSION: IMPOSSIBLE - GHOST PROTOCOL: The Film Babble Blog Review



MISSION: IMPOSSIBLE - GHOST PROTOCOL 

(Dir. Brad Bird, 2011)









Unless you've been living under a rock lately, you've heard about Tom Cruise's death defying stunt scaling the tallest building in the world (Dubai's Burj Khalifa) without a stuntman in the newest MISSION: IMPOSSIBLE movie. It's a pretty damn impressive feat indeed, especially as it was one of several key scenes filmed with IMAX cameras.



What's more impressive to me is that not only can Cruise can keep the MISSION: IMPOSSIBLE franchise sucessfully afloat with this, the 4th in the series - GHOST PROTOCOL, he's also conquered the screen in what I believe is the strongest action movie of the year.



And Cruise does it looking like he's only aged a couple of minutes after the last one ended back in 2006.



Now, even though I'm not really an action genre guy, I re-acquainted myself with the other M:I movies (I hadn't seen the first or second one since they were released well over a decade ago, and I always put off seeing the third), and I have to admit that they are state of the art escapism. Sure, they are souped-up vanity projects on one level, but each, helmed by a different hot-shot director - in order, Brian de Palma, John Woo, and J.J. Abrams - is slick high speed fun, and great to exercise bike to, I've found.



With Brad Bird (Pixar's THE INCREDIBLES, RATATOUIE) making his live action directorial debut, and a sharp screenplay by André Nemec and Josh Appelbaum (Alias), Cruise's Ethan Hunt chooses to accept another globe-trotting adventure with a crew made up of Simon Pegg (reprising his role as tech agent Benji from M:I:III), Paula Patton, and Jeremy Renner.



There's no way to not make the plot sound convoluted, but trust me it flows better than this description: We catch up with Cruise doing time in a Moscow prison. Cruise's IMF (Impossible Missions Force, duh) helps him escape, and they are given the mission to infiltrate the Kremlin (that's right) to extract top secret files.



After exiting the scene, a bomb goes off (one of the first notable IMAX moments) blowing up the Kremlin, and the IMF is implicated. In an all-too-brief cameo, the always reliably stodgy Tom Wilkinson shows up the Secretary of State of IMF to tell them they have to go underground to clear their name.



This involves faking a trade for nuclear codes between a French assassin who works for diamonds (Léa Seydoux) and Samuli Edelmann, the right-hand-man of the movie's villain (Michael Nyqvist), who want to annihilate the world's population in order to begin again.



This is where Cruise's skyscraper stunt comes in, eye-poppingly shot by ace cinematographer Robert Elswit (THERE WILL BE BLOOD) which is genuinely breath-taking. Although Cruise's Hunt is a cocky bastard most of the time, he does show some believable fright in this and other heart pounding scenes, and that enhances the intensity greatly throughout.



And then, when you think they can't top that, Bird and co. serve up a chase through a sandstorm which is just as thrilling.



Also, just when you start wondering, hey - what about, Michelle Monaghan, Cruise's wife from M:i:III? Pegg, among his many amusing one-liners, mentions in vague terms that she ended the relationship, but, of course, we just know that there's more to it that that.



Sure, the plot is routine, Nyqvist (who was the protagonist in the original Swedish GIRL WITH THE DRAGON TATTOO films) isn't a very memorable villain, and the last third, mostly set in a palace in Mumbai, too resembles something out of 007 in OCTOPUSSY, in its excuse to have our hero in a tuxedo in an exotic location, yet M:i:4 is still worth an overpriced IMAX ticket for, not only the awesome Burj Khalifa sequence and several choice action set-pieces, but for the sheer entertainment value of a high fallutin' formula done right.



Renner, who does his hot-head shtick here to perfection, is rumored as a candidate to take over the series from Cruise, but you wouldn't know it here - Cruise sure doesn't look like he's pushing 50 in one pummeling set-piece after another; it is as if he's been outfitted with new bionic body parts just so he can make 3-4 more of these.



More later...

20 Aralık 2011 Salı

Eames: The Architect & The Painter (Tuesday, December 20, 2011) (119)

This is a nice little documentary about the lives and work of Charles and Ray Eames, the husband and wife team who captured the spirit of the post-war boom years with their elegant, efficient, modern and futuristic designs. (In case you didn't know, Ray was a lady.) It's an interesting story about how they fell in love due to their mutual respect for one another and their ability to work beautifully together. It shows their work not only designing the chairs and tables, but also their houses, paintings, films and other artistic projects. They had a studio where they worked with dozens of young designers over the years in a free-for-all of creative exploration.

The film also examines how Charles, the face of the company (because he was a man, of course), frequently took full credit for the work of his underlings and Ray. He comes off as a bit of a creative egomaniac who gave little explanation about his ultimate choices. Ray shrinks a bit into a corner of the screen here, partly because she was simply not in as many films of the time (because Charles was in all of them, by choice), but also because she gave into the dynamics of their relationship. This is a bit frustrating as it's really mostly a movie about Charles with a chapter on Ray, but told with a post-Second-Wave tone that suggests the couple were co-equal partners... which they might have been, but is hard to see with the materials presented on screen.

This is a fun movie and very informative. There are a handful of creative flourishes that directors Jason Cohn and Bill Jersey insert at times to tell the story in an Eamesian way, though nothing too revolutionary.

Stars: 2.5 of 4

Cool Dog film izle

Cool Dog (Türkçe Dublajdır.)
Filmin Yapım Yılı: 2009
Filmin Yapım Yeri: ABD
Filmin Yönetmeni: Danny Lerner
Filmin Türü: Macera - Aile
Filmin Oyuncuları: Christa Campbell,  Michael Paré,  Saxon Sharbino,  Michael Showers,  David Jensen,  Halley Rachal,  Daulton Brewer,  Patrick Kirton,  Lee Ann Mcdade,  Tammy Eaton,  Sarah Davidson,  Ryan Glorioso,  Nedal Yousef,  Jill Waterston,  Robert Larriviere,  Jeff S. Riddick Jr.,  Johnny Michael Horn,  Brian Kinney,  Avery Kelley,  Jen Kober,  Cameron Ten Napel,  Brighton Sharbino,  Ainslee Waterston,  Hevin Hampton,  Kip Cummings,  Edrick Browne,  Chuck Vail,  George Wilson,  Eric Kelly Mcfarland,  Thomas Wallace,  James Hébert,  Chase Mcdaniel,  Jackson Pace,  Kent Jude Bernard,  James Dumont,  Kevin Beard,  Randal Reeder,  Bryce Cass
Filmin Süresi: 88 dk.
Filmin Senaristleri: Les Weldon,  Danny Lerner
Filmin Yapımcıları: Matthew F. Leonetti Jr.,  Les Weldon,  Danny Lerner
Film Hakkında: "Cool Dog" filmi, ailenizle birlikte güzelce izleyip vakit geçirebileceğiniz hoş ve güzel bir yapıt.
Filmin Konusu: Küçük Jimmy, babası ve üvey annesi ile birlikte küçük bir kasabada yaşamaktadır. En yakın arkadaşı Rainy adlı Alman köpeğidir Jimmy'nin babası tayin olunca, New York'a taşınırlar. Bir apartmana yerleşirler. Fakat apartman yönetmenliğine göre burada oturanların evcil hayvan beslemesi yasaktır. Ama Jimmy köpeği Rainy i çok sevmektedir. Tabi bununla birlikte ardı arkası kesilmez macera ve serüvenler başlayacaktır.
İyi seyirler dileriz.
Not: Filmin 72. dk sından sonrasını izleyebilmek için modeminize reset atıp kaldığınız yerden devam edebilirsiniz. Ya da diğer alternatif videolardan kaldığınız yere sararak filmi izleyebilirsiniz.
Not(2): Ayrıca filmi Putlocker ile izlerseniz herhangi bir izleme sınırı yoktur. Hiç sıkıntı yaşamadan, modeme reset atmanıza gerek kalmadan izleyebilirsiniz.
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A Brighter Summer Day (Saturday, November 26, 2011) (118)

Note: The great Taiwanese director Edward Yang made A Brighter Summer Day in 1991 and released it on the festival circuit then. Due to a few complicating factors, such as its unwieldy 4-hour length, it was never released theatrically at that time. It did however gain a tremendous status in the cinema world for being an unknown gem, a magnum opus that was all but unavailable.

This year, just over five years after Yang's death, it was finally released theatrically. Although I could consider the film for my year-end "Best Films of 2011" list, I will not, because I don't feel like that's very fair to the films of 2011. I am thrilled to have been able to watch it (it's a magnificent film), but I do not really consider it a 2011 release.

The title of A Brighter Summer Day comes from a scene when a few of the main kids in the film are sitting around a record player trying to transcribe the lyrics to Elvis Presley's "Are you Lonesome To-Night,"released a few months before the story takes place. The kids are obsessed with rock music and have a not-terrible band that plays in the local diner. The band members are all from the same street gang and they hope their shows won't get broken up by the rival gang.

They are all the children of mainland Chinese people who fled the Communist revolution in the late 1940s. Now, in the early 1960s, they are teenagers, mostly 12 to 15-years-old, trying to make their way in the world and find some grounding. Their parents are all modest people, generally working for the government, and they live in massive public housing compounds that contain apartments, several cafés and their school.

The gangs they create are more like the gangs of West Side Story than of Boyz n the Hood, they get in fist fights and political battles over turf, but generally are not too dangerous. They're much more likely to use a bat than anything more, even a knife.

As we follow the main character, Xiao Si'r, we see him trying to survive the street, needing to show his toughness to his fellow gang members, hoping for a better life than what his parents have given to him, trying to remain a good student and trying to negotiate the trickiness of developing a crush on a girl from the rival gang.

The story is simple, actually, but because it is 4-hours long, it has a lot of detailed information in it. It's a wonderful narrative filled with small ups and downs as the Xiao Si'r and his friends work to survive. There are hundreds are kids in this film, though it's never really hard to figure out who is doing what. Yang is very clear about everyone's intentions and motives as the story moves along.

This is what neorealist cinema is and should always be compared to. This has more of a logical connection to films by de Sica and Rossellini than anything in Hollywood or Asia. I keep thinking about Ozu's Tokyo Story, because it's equally domestic and neorealist, but it's much bigger than that and much less sentimental. The colors of the film are largely gray and green due to the concrete structures the kids exist in and the public street lighting of nighttime Taipei. The interiors are modest, but rich in detail. Xiao Si'r and his brother sleep in two levels of a closet in order to fit all their sisters into the bed rooms.

Yang had an amazing ability to work with kid actors (or non-actors) and get them to come off more naturally than just about any other director I can think of (possibly similar to the boy in Rossellini's Germany Year Zero). In his masterpiece Yi Yi the son takes pictures of the backs of people's heads, saying that that is the most honest way to shoot someone because they don't know they're being shot. It's such a simple and basic idea, a childish idea even, but a true concept.

Here too, Yang works with a passel of kids, most of whom are non-actors, and gets them to be as natural as if they were not acting at all. Their troubles and fights are real and don't feel forced or faked at all. What they do and say comes off as totally honest and significant. This is a great achievement because it's a very fine line between manipulation and profundity. Yang always stays on the good and smart side of that edge.

Stars: 4 of 4