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Wednesday, December 28, 2011

Cu ocazia...2011

Dragii Mosului,

Cu ocazia sezonului festiv pe care il petrecem in aceste zile, ocupati fiind cu activitati precum cumparatul, gatitul, mancatul, bautul si dormitul, este de inteles ca nu va putem satisface pofta de lucruri noi si minunate pe acest blog. Asta in caz ca si voi, cititori fideli, nu sunteti ocupati cu aceleasi chestii. Asadar, dupa modelul retrospectivelor, va propunem o rememorare a celor mai vizionate posturi ale blogului nostru. Da! Dupa miscarea Occupy Ars Cinematica, dam din nou poporului puterea. Mai intai urmeaza insa, o scurta trecere in revista a ofertei TV autohtone.

Cinefilic vorbind, televizoarele patriei sunt ocupate din nou de acelasi melanj rosu-alb de Mosi Craciuni obezi, fantastici sau wanna-be, de indispensabilele personaje auxiliare care trag sanii, bat potcoave la reni si traverseaza cadrele zornaindu-si podoabele, totul intr-un spirit festiv crestin, menit sa ne faca pe toti niste oameni mai buni, mai de omenie. Nu lipsesc colindele, concertele si celebritatile care ne arata cum sa gatim ca la mamele lor acasa. Un sacrilegiu totusi exista, nu mi-a sarit nicaieri in ochi eternul "Home Alone", fie el de gradul 1, 2 sau 3. ProTV-ule, te-ai lenevit!

Pentru aceia dintre noi care nu-si lasa usor spiritul sa se incalzeasca la semineul cantecului, exista un program TV minunat, denumit ironic "Stiri". Acest deliciu audio-vizual ne incanta simturile si intelectul cu dezvaluiri, news alert-uri si breaking news-uri despre viermi intestinali rasariti din sarmale, imense deficiente in resursele populatiei rezolvate succint in haosul hypermarket-urilor si alte bunatati asortate.

Luand totul in considerare, suntem norocosi. Beneficiem de tot ce e mai bun, in aceste vremuri, cele mai bune vremuri. Suntem norocosi. Traim bine. Cu speranta te dorim, Anule Nou. Vino, dar mai stai un pic ca ne e asa de bine. Iara tie, Anule Vechi, acum te mintim ca ai fost minunat, de neuitat. Dar curand te vom uita. Un strat nou de zapada, si cel trecut e amintire. Pana la urma ce e prezentul decat o nostalgie a viitorului si o speranta a trecutului? Mi-e rau de la sarmale. La multi ani!

Si acum, power to the people, the best of the rest, the golden ones, the magic few, in ordinea numerelor de pe tricou:

Ars Cinematica - Top 9 Posts 2011
1) Los Lunes al Sol

2) Red Riding Hood

3) Sezon Terrence Malick: Thin Red Line

4) Poster: Exorcist 1973

5) Pirates of the Carribean: On Stranger Tides (recenzie in 5 minute)

6) Kiss Kiss Bang Bang

7) Brighton Rock 2011

8) Muzica lui Clint Mansell

9) 14 Alternative films about love

Multumim celor care ne-au citit, comentat si urmarit.

Ars Cinematica Team
Kolcs Rutzky Marqui

Friday, December 16, 2011

Coriolanus (recenzie raluk.ro)

I will make you a sword of me

Dupa o ce a invins armata Volsiciei in orasul Corioles, generalul armatei Romei, Caius Marcius (interpretat de Ralph Fiennes), primeste numele onorific Coriolanus. Nu doar ca a condus singur asaltul asupra orasului, dar a si dus o lupta cutit la cutit cu generalul volsician, Tullus Aufidus (Gerard Butler), un vechi dusman personal, care dupa infrangere jura razbunare.

Intors acasa, este slavit ca un erou si prezentat publicului, dar, ca membru al unei familii de nobili, cu greu isi ascunde dispretul pentru pleaba. Invocand modestie, refuza sa vorbeasca prea mult in public sau sa-si arate ranile de lupta. Mama sa ambitioasa il impinge insa spre pozitia de Consul in Senat, idee care nu ii displace initial lui Coriolanus, dar cand toti cei apropiati il incurajeaza sa se arate mai prietenos si mai putin sever decat ii e natura, acesta se enerveaza vazand-o ca pe o tradare de sine. Totusi se supune si obtine favoarea Senatului si chiar si votul poporului, pana cand doi consuli care il displac intorc poporul impotriva sa.

Mahnit de aceasta intorsatura, revine la firea sa severa si militara si isi exprima dispretul pentru faptul ca oamenii de rand au drept de vot in deciziile Senatului. Pentru cuvintele sale e numit tradator al poporului si exilat.

Coriolanus jura razbunare si merge in bratele dusmanului sau de sange, Aufidus, cautand moarte sau alianta impotriva Romei.









Despre actori si regie ce se poate spune?

Dupa cum am mentionat, la regie il avem pe Ralph Fiennes care debuteaza cu acest film din punct de vedere regizoral. Cunoscut actor Shakespeare-an si actor de film premiat, lista oamenilor mai apti pentru a adapta o piesa pentru marele ecran probabil nu e prea lunga. De fapt, fratele sau, Joseph Fiennes, chiar l-a interpretat pe Shakespeare la un moment dat, desi asta e doar un mic detaliu interesant si probabil nu are multa relevanta.

Piesa originala, scrisa prin 1600, e bazata pe un fapt real care a avut loc in Roma Antica prin 500 I.Hr., astfel Fiennes nu doar ca a incercat sa transpuna pe ecran un text vechi de 400 de ani cu limbajul pe masura, dar si sa adapteze niste ideologii vechi de 2500 de ani lumii contemporane. Si din pacate nu reuseste prea bine. Detaliile tehnice modernizate sunt credibile, sabiile devin mitraliere, naratorul devine prezentator de stiri, dar cand vine vorba de chestiuni mai complicate, rationamentul personajelor, motivatiile lor, functia senatului si relatia sa cu poporul, adica intrigile de baza ale piesei, nu se face o tranzitie de success dintre cele doua medii. Si limbajul mai ales se potriveste cu filmul ca un dovleac cu o panza de matase, habar nu ai ce cauta impreuna. Daca in Romeo + Juliet credeai ca acei oameni chiar asa vorbesc in viata de zi cu zi, aici astepti sa inceteze o data cu rimele si sa inceapa toti sa vorbeasca normal.

Si cam asta e problema principala care face tot filmul sa para fals si cam derutant. Daca ar fi luat textul de baza, ar fi rescris dialogul in mod natural, pastrand poate doar cateva replici, ar fi mers mult mai bine, ar fi putut sa si explice mai bine publicului de ce unele personaje se comporta cum o fac si ar fi fost un film bun. Pentru ca, intradevar, exista foarte mult potential. Dinamica si ritmul sunt foarte bune, scenele de razboi prezinta foarte multe imagini marcante si sunt unele dintre cele mai bune secvente de lupta care le-am vazut. Chiar si revolta poporului impotriva lui Coriolanus si felul in care e prezentata la stiri trage o paralela destul de puternica cu evenimentele din ultimii ani si va evoca imaginile pe care le stim din Libia, din Irak si chiar si de la propria revolutie, desi finalmente acesta ramane doar un alt aspect pe care Fiennes nu l-a explorat pana la capat.

Actoriceste insa altfel sta treaba. E si aici o mica problema cand unele din replici sunt efectiv neinteligibile, textul nefiind oricum usor de urmarit. Lucru care ii afecteaza in mai mica masura si pe actorii principali, dar mai ales pe cei secundari care se vede ca nu au antrenamentul traditional englezesc, multi dintre ei fiind straini. Si nu doar ca engleza lui Shakespeare e adesea neinteligibila cand e vorbita cu accente straine nedeterminabile, dar si atunci cand replicile se inteleg suna groaznic.

In rolul lui Coriolanus il avem desigur pe regizor insusi, Ralph Fiennes, care aici ne arata de ce totusi a insistat sa adapteze textul vechi; se vede ca omul stie textul si ca il iubeste litera cu litera, e complet bagat in rol, si chiar daca actiunile sale sunt uneori derutante, ajunge doar sa il privesti, pentru ca e hipnotizanta energia sa. Acelasi lucru se poate spune si despre Vanessa Redgrave, pe care o stiti din recentul Anonymous, film pseudo-biografic despre… hmmm… Shakespeare (v-am zis ca e peste tot?) si care desigur e una din cele mai apreciate actrite care a dat viata pe scena cuvintelor lui William. Problema ei e ca uneori pare sa uite ca e totusi un film si interpretarea ei devine putin cam teatrala. In rolul lui Aufidus il avem pe Gerard Butler, pe care il stim din 300, RocknRolla, si Phantom of the Opera, si care are sansa sa-si demonstreze ambele fatade, cea de luptator barbos si cea de actor talentat.

Un alt rol secundar e ocupat de Brian Cox (Rise of the Planet of the Apes, Manhunter, 25th Hour) si, desigur, ca in toate celalte filme care au aparut anul acesta, exista un rol si pentru Jessica Chastain (The Tree of Life, The Help, The Debt), care nu ca nu ar fi o actrita buna, dar care aici pur si simplu are un rol care nu se rezuma la mai mult de a spune doua-trei replici si de a arata frumos in fundal.

Ce spun criticii despre Coriolanus?

Thursday, December 8, 2011

Carnage (TakeOne Review)

After an argument, one ten year old boy hits another in the face with a stick. The next day, the parents meet to sort out things in a polite and civilized fashion. Let the politically correct mayhem commence!
After his political thriller THE GHOST, Polanski returns to the big screen with a brilliant comedy about two upper-class couples descending into uncivilness and tapping into problems that go far beyond a playground fight. The film is surprisingly short, having only 79 minutes including credits, and the time passes even quicker thanks to Polanski’s impeccable timing and rhythm. The flow of the action slows down and pauses just as the mayhem gets too weary, and speeds up again just before the audience can get too comfortable. And this is an uncomfortable film, especially in the first part when the couples constantly pendulate between genuinely trying to be nice and snarling politely at each other. Memories of WHO’S AFRAID OF VIRGINIA WOOLF? are evoked as you feel as though you are trapped in a room with a couple arguing. It makes you want to be somewhere else, yet you cannot listen away – but the awkwardness is perfectly complemented by the humour of the dialogue and the situations.

The film is based on a play which takes place in a single house and develops in real time, creating a claustrophobic sense which adds to the tension. It is not easy to successfully transfer such a static text to the screen, but Polanski manages to pull it off, especially since he has the help of this brilliant cast of four, three of them Oscar Laureates (Jodie Foster, Kate Winslet and Christoph Waltz and one nominee, John C. Reilly). There is a strong chemistry between them, drawing the audience in from the first minute, and, as politeness turns into mayhem, they show the true depth of their talent as the characters drop mask after mask after mask. An intelligent comedy, it will have you laughing furiously as you turn and twist in your seat at every awkward moment, and you will love and lovingly hate every second of it.



TakeOne

Saturday, December 3, 2011

Coriolanus (TakeOne Review)

It’s a rather interesting fact to consider that one of the most prolific and successful writers of cinema, the youngest of arts, died nearly 400 years ago. Whether this attests to Shakespeare’s talent or to the lack thereof in modern writers is at each one’s digression; what is to be noted that from loose interpretations (such as THE LION KING) to strict adaptations (such as anything bearing Kenneth Branagh’s seal of approval), there is an ocean of variations in between. One such variation was successfully brought to the table by Baz Luhrman’s 1996 ROMEO +JULIET, in which the original text is bluntly put into a modern setting. The only thing Ralph Fiennes’ directorial debut adds to this is the knowledge that Luhrman’s success was probably an exception, and that the sound of AK-47s and lines such as “Hear’st thou Mars?” do not mix well.

It would have probably been a privilege to see Ralph Fiennes, Vanessa Redgrave and Brian Cox act it out on stage, since their immersive acting is amongst the few redeeming qualities of this film; despite the fact that some of their lines were unintelligible, a defect which generally plagued most of the other actors. Some of the war sequences were truly impressive and profound in their uncensored brutality, and the recurring news-reel images of protesters being harassed by army forces evoked the ones we’ve seen from Libya over the past year, a vein the film, unfortunately, did not decide to follow.

Had the producers updated the text along with the setting, sans a few lines, it would have probably been an engaging experience. Under these circumstances, however, the two repel each other like oil and water, making the motivations of the characters and over-all plot not only confusing but even illogical to modern viewers.

Probably a treat for die-hard Shakespeare lovers, but the general feeling is that someone dubbed a very good war-drama with the text from the play.

(TakeOne)

Tuesday, November 29, 2011

Autoreclama: De ce am o problema personala cu noul film a lui Justin Timberlake

Unii dintre voi s-ar putea sa stiti ca eu mai am un blog, primul meu blog, care e de natura personal-aleatorie, si ca acesta a fost inchis un an si ceva pentru ca nu prea mai vedeam scopul din moment ce postam foarte rar.
Din motive inexistente am decis sa-l redeschid, si pentru ca prima postare e legata de subiectul filmului (si pentru ca am o disperata nevoie de reclama) il semi-repostez si aici.

How Justin Timberlake screwed me over


Ok, it wasn't Justin Timberlake, his only the main actor in the film which stole my idea, but hey, I gotta attract readers somehow, and how many of you tabloid consuming, product purchasing cretins know who Andrew Niccol is?
Well, he is the director of such films as "Gattaca" (and others I'm sure) and director and co-director of a Science Fiction film called "In Time" featuring Justin Timberlake and Amanda Seyfried. But will get back to that later.




About 5-6 years ago, on one of those occasions in which life bores me to tears (yawning tears) I started constructed a fantasy world; I tried to conceptualize what the World would look like if people were immortal, and I soon realized that for such a society to function properly some form of severe population control needed to be put in order, otherwise people would just live forever and multiply until there is no more room or resources on Earth. My solution was a timer which would let people live only a period of time, in this case people would die after a certain number of heartbeats.
I like the concept and decided that one day I will turn it into some form of fiction. Now, I'm a lazy little fuck, and won't scratch my nose without an outside force putting pressure on me to do it, so it wasn't until March 2010, when I had a short story module and we were analyzing SF, that I actually wrote down the first version of the story based on the concept I made up. And here it is:

Friday, November 25, 2011

The Turin Horse (TakeOne Review)

In 1889 Friedrich Nietzsche left his house in Turin and witnessed a man violently whipping his horse, which would not move. This image caused a mental breakdown in the philosopher, who threw himself at the neck of the creature to protect it, and afterwards fell ill until his death in 1900. What happened to the horse remains unknown, the narrator informs us at the beginning of what is allegedly Hungarian director Béla Tarr’s last film.

Shot in black and white and using only 30 takes, the film shows six days in the life of the peasant who beat the horse. The peasant lives with his daughter in an isolated farm house. As he returns from Turin, a strong wind brews and will not cease until the very end, offering an often hypnotic background sound. We follow the two in their daily mundane activities, but as strict and well rehearsed their routine is, their life seems to untangle minute by minute. The illusion of control doesn’t soothe their unspoken desperation, as the world itself seems to have conspired to tear them apart. As the wind grows stronger, the horse refuses to budge or to eat, and their well dries out. Whether this is a punishment for the beating of the horse, humanity’s last savage act the Universe would suffer, or merely a prolonged storm or maybe even a grim vision in Nietzsche’s delusional mind is for the viewer to decide.


Those familiar with Tarr’s work will know what they are in for, but newcomers might find the long, slow meditative takes, the agonising repetitiveness and the lack of a classical story-line unwatchable; as have the roughly dozen people who have walked out from today’s screening. But for those who can adapt to the rhythm, this will be a mesmerising experience with intense, silent acting and a firm yet agile directorial hand, which reminds one strongly of Tarkovsky or Bergman; the film itself seeming to belong rather to the period of ANDREI RUBLEV and THE SEVENTH SEAL than 2011.

Take One

Thursday, November 24, 2011

The Rum Diary – nici pe departe indeajuns rom (recenzie raluk.ro)

Care adolescent cinefil-in-devenire nu a descoperit la un moment dat Fear and Loathing in Las Vegas, ramanand buimac dupa experienta? Eu unul sunt un exemplu clasic cu obsesia de rigoare, Gilliam oricum isi facea deja loc spre a fi regizorul meu favorit, textele lui Hunter S. Thompson le devoram cum reuseam sa le prind si Johnny Depp… e Johnny Depp.

Cum atunci sa reactionez altfel decat cu cel mai mare entuziasm la anuntul ca un al doilea film dupa un roman pseudo-autobiografic al autorului e in productie? Dupa ce am citit romanul nu mi-a ramas decat sa astept ani buni sa apara cate o poza sau o stire pe IMDb, filmul avand o productie destul de tulburata.

Poate ca aveam asteptari prea mari, poate ca nu a fost de la inceput corect sa il compar cu Fear and Loathing in Las Vegas, ceea ce nu am putut evita, dar filmul pe care l-am vazut ieri nu e chiar filmul pe care il asteptam.

Now all this might sound like some crazed hallucination, but it’s all true… I think

Anii ’60, prima dezbatere electorala televizata are loc intre Nixon si Kennedy, iar Paul Kemp (Johnny Depp), un scriitor/jurnalist american, accepta o slujba in Puerto Rico in speranta de a-si gasi vocea auctoriala. Aici se loveste de criza orasului, unde localnicii sunt tratati prost de invadatorii americani care cred ca locul li se cuvine, si distrug peisajul construind hoteluri scumpe pentru turisti grasi americani care nu fac altceva decat sa joace bowling si la casino.

Ziarul la care se angajeaza e pe calea cea buna spre desfiintare, si incercarile lui de a prezenta stiri adevarate in loc de povestioare dragute care lauda afacerile americanilor nu sunt primite cu mare caldura.

Talentul sau e curand observat de coruptul Sanderson (Aaron Eckhart) care ofera bani buni pentru colaborarea lui Kemp intr-o “afacere”, lucrurile insa se complica cand apare in peisaj frumoasa logodnica a afaceristului.

Despre actori si regie ce se poate spune?

Problema principala a lui The Rum Diary e lipsa de focalizare – dupa cum poate ati observat si din rezumat, povestea urmareste diverse fire narative, nereusind sa il duca pe niciunul pana la capat. Nu e nici chiar o poveste de dragoste, nici una despre lupta impotriva coruptiei si nici una despre un scriitor in devenire. E putin din fiecare, dar niciuna de fapt, si intre ele sunt introduse momente de comedie cauzate de alcool, mai precis rom, ca doar trebuie si titlul explicat cumva.

Acest frustrant rezultat cade pe umerii regizorului Bruce Robinson, care si-a facut debutul cu propria contributie in randul filmelor cult, inimitabilul Withnail and I si How to Get Ahead in Advertising, si care dupa un hiatus de 19 ani nu doar a regizat acest film ci a si adaptat scenariul dupa romanul lui Thompson. Pentru textul de baza, ca si pentru Fear and Loathing in Las Vegas, functioneaza stilul narativ fragmentar, caci vocea lui Thompson e una captivanta si puternica, compensand pentru lipsa de liniaritate cu comentarii sociale de la cele profunde la cele ilare, dar in amalgamul de fata acea voce e pierduta, pelicula oferind putine momente veritabile de introspectie sau umor.

Dintre actori, Aaron Eckhart si Amber Heard sunt cam neremarcabili, dar asta e poate din cauza ca personajele lor par destul de fade in comparatie cu toti excentricii care domina restul filmului. In roluri secundare apar Richard Jenkins, care a fost nominalizat la Oscar anul trecut, Michael Rispoli care a mai aparut in Kick-Ass, dar cel care fura spectacolul e Giovanni Ribisi, care e de nerecunoscut in rolul unui jurnalist alcoolic cu tendinte naziste.

Colectia de ciudati e condusa de Johnny Depp, despre care mai trebuie sa zic ceva? Considerand ca tin la viata mea, am hotarat ca trebuie. Paul Kemp e mult mai putin… excentric decat Raoul Duke, celalalt alter-ego al lui Thompson, jucat tot de Depp, dar asta probabil din cauza ca aici sursa e doar alcoolul, nu o colectie formidabila de droguri. Astfel ca performanta actorului nu mai e la fel de exploziva, dar asta nu o face cu nimic mai putin buna, si m-am bucurat foarte mult ca a continuat sa redea vocea groasa si modul de a vorbi pe care le avea si in celalalt film.

Dar implicarea lui Depp in cazul de fata nu e doar pe post de actor; el e cel care l-a convins pe Thompson sa publice romanul in 1999, desi il scrisese cu aproape 40 de ani inainte, el a luptat pentru ecranizare, oferindu-si propria firma de productie, si el l-a scos pe Robinson de la “pensie” pentru regie; o pasiune si dragoste pentru material care se vede si in actorie.

Ce spun criticii despre The Rum Diary? si restul articolului

L-as mai vedea o data?
Poate. La un moment dat. Nu pot sa zic ca e o prioritate.

Tuesday, November 22, 2011

We Need to Talk about Kevin (recenzie raluk.ro)

I am the Context


Filmul incepe cu o mare de oameni acoperiti intr-un lichid rosu cu vascozitate mare – e Festivalul Tomatina din Spania unde oameni se bat cu rosii, iar aici vedem o Eva (Tilda Swinton) tanara si fericita, dar aceasta imagine de bucurie e rapid distorsionata de vagi tipete de groaza, ce par sa rasune dintr-un loc indepartat. Impactul actiunilor lui Kevin se furiseaza in fiecare coltisor al vietii Evei, deformand pana si trecutul. Aici e prima data cand o vedem pe Eva inconjurata de rosu, culoare care o va domina pe tot parcursul filmului, neputand scapa de el atata timp cat nu poate intelege rolul ei in aceasta tragedie.

Mai tarziu o prindem la cumparaturi, in fata unui unui raft cu rosii la cutie, oglindind imaginea de la inceput si contrastand-o; daca la inceput rosiile erau simbol de libertate, aventura, distractie, aici ele sunt inchise, amintind de cusca rutinei. Filmul evita in mare parte dialogurile elaborate, si momentele fortat dramatice, bazandu-se mai mult pe reactii, gesturi, si imagini mondene cu potential simbolic, lasand publicul sa-si aleaga cat vrea si cat poate din ceea ce i se arata.


Despre actori si regie ce se poate spune?


La regie o avem Lynne Ramsay, o regizoare britanica, care a luptat pentru a sansa de a pune pe ecran bestseller-ul lui Lionel Shriver. Fiind la al treilea lungmetraj, niciunul film de box-office, numele ei nu va spune prea multe, dar e de notat ca a castigat un premiu BAFTA pentru cel mai bun debut, si e cunoscuta in industrie ca regizorul care ar fi trebuit sa faca The Lovely Bones, alta adaptare pentru care a luptat si pe care a pierdut-o cand studiourile l-au ales pe Peter Jackson – sensibilitatea ei si pasiunea pentru text ar fi dat probabil un rezultat mai bun decat cel plin de imagini marca WETA.
Si aici a demonstrat o intelegere profunda a textului, reusind sa adapteze, ca regizor si co-scenarist totodata, un text format din monologurile interioare ale Evei intr-un film cu putine cuvinte, fara a pierde elementele centrale.
In rolul principal o avem pe Tilda Swinton pe care o puteti recunoaste dintr-o bogata lista de filme de succes cum ar fi The Beach, I Am Love, The Chronicles of Narnia, Burn After Reading, Michael Clayton, pentru care a castigat un Oscar, s.a.m.d. Actrita se foloseste mai mult de mimica decat de orice altceva, ea singura descriindu-se ca “o actrita muta”, reusind sa o redea pe Eva in diverse momente ale vietii, dar mai ales de a-i arata conflictele interioare dupa masacru.
Celalalt rol major e cel a lui Kevin care e jucat de patru actori, la diverse varste, ultimele doua fiind cele mai provocatoare, Kevin la vreo 10 ani si Kevin la 16 ani. Ultimul e jucat de Ezra Miller pe care poate l-ati vazut in Californication, si a carui interpretare intr-un alt film ar fi fost baza unuivillain de prima clasa. Chip angelic, ochi demonici, o inteligenta ascutita, cuvinte bine alese, un actor de prima clasa si zero empatie, astea sunt calitatile pe care Miller i le da lui Kevin.
In rolul sotului lui Eva il avem pe John C. Reilly, cunoscut pentru talentul de a balansa rolurile de comedie cu cele serioase. Aici joaca un barbat cu inima mare dar cam naiv, care nu vede prin mastile fiului sau. Joaca bine dar rolul nu ii ofera prea multe. L-ati mai vazut in filme precum Magnolia, Anger Management, Chicago,The Hours, The Aviator etc.

Recenzia completa aici

Monday, November 21, 2011

The Rum Diary (TakeOne Review)

We were somewhere near the screen, at the edge of the balcony when the reel started rolling…

Saturday, November 19, 2011

Trailer de final de saptamana: Mirror Mirror, sau cealalta Alba-ca-Zapada

Aparent ca sa fie mai interesanta competitia, celalalt film cu Alba-ca-Zapada si-a lansat trailerul saptamana asta.
Ziceam ceva de Tarsem Singh, cum ca considerand "The Cell" si "The Fall" ne putem astepta la imagini suprarealiste, viu colorate si poate chiar cu influente horror-gothice. Am gresit, noh!
E o comedie, ceva gen "Ella Enchanted" cu Nathan Lane printre altii.

Hmm, cred ca daca am de ales as alege celalalt Snow White:

Tuesday, November 15, 2011

Trailer of the Day: The Iron Lady

From the director of Mamma Mia!, the highest-grossing British movie of all time (?!?!), here comes another tale with Meryl Streep at the centre. Even more so in this one. In the upcoming "The Iron Lady", she portrays - well, it's obvious, isn't it? - the Iron Lady herself, Margaret Thatcher, the former British Prime Minister that reigned from 1979 to 1990 and that put her mark on Britain and British politics. Literally. Google Thatcherism if you don't believe me.

The trailer does not present us with anything special. There is the King's Speechesque fooling around during a session with a therapist/trainer/adviser type individual. There is the root of a conflict with the husband (played by Jim Broadbent). It has the necessary inspirational "Hero wants to achieve something great" or "Hero fights for something/ with someone/ against all odds" Aaand there are the obvious full page adds for Academy Award Winner. But all that aside, isn't Meryl Streep completely morphed into the woman herself?

Stylistically, I feel too great a similarity with the King's Speech. Ok, I see you take the true story of a personality with historical importance, you add an excellent cast, and you tell that story. But it is a bit cheating if you ride The King's Speech wave of popularity, change the personality, find something else to drive the story other than a speech impediment, and you get a few Oscars and a few hundred millions for it. I hope it will not be the case because Thatcher's story is quite astonishing and it deserves to be given an adequate cinematic rendering. Trailer, below:




Oh, and by the way, the teaser trailer released a while back has the soundtrack stolen from Clint Mansell's Moon. For other complaints about over-used songs: kolcs on Clint Mansell's music




PS. As I was reading kolcs on Clint Mansell's music, I saw that he had complained about this as well.

Trailerul zilei: Snow White and the Huntsman

Din seria filmelor "hai sa luam basme si le facem cool si edgy si gothice si alte adjective care vand" in curand vom avea de admirat, nu unul ci doua interpretari a basmului "Alba-ca-Zapada". Unul se numeste "Mirror, Mirror" e cu Julia Roberts in rolul reginei malefice, e inca in stadiul de filmare sub regia lui Tarsem Singh, care a regizat si "The Cell" si "The Fall", deci putem fi siguri ca va fi plin de imagini suprarealiste. supracolorate si "metaforice".

Dar mai intai vom avea "Snow White and the Huntsman" in care Chris Hemsworth va arunca cu topoare nu ciocane si se va indragosti de Alba-ca-Kristen Steward, desi i se ordonase sa o omoare de Charlize Theron.
Ma asteptam la tratamente vizuale gothico-pseudoerotico-twilightiene provocatoare de orgasme in audiente feminine pre-pubescente, dar trailerul ne promite un epic fantasy adventure film abundent cu scene de razboi medievale cu o multitudine de elemente supranaturale tolkiene si o Alba-ca-Lama-de-Pumnal razboinica.
Stiu ca am mai gresit in interpretarile de trailer, dar data asta cred ca exista o sansa sa nu parasim filmul dezamagiti.

Si acum cu muzica furata din Tron: Legacy, trailerul

Monday, November 14, 2011

La Multi Ani celor de la Marele Ecran...

...care au implinit azi trei ani si carora le dorim un viitor stralucit...
...pentru ca sunt niste rivali pe cinste care ne inspira dorinta de ratinguri mari. (rating se zice la blog?) si avem nevoie de o competitie sanatoasa
...pentru ca sunt cinefili
...pentru ca ne sunt prieteni (pe facebook, si nu numai)
...pentru ca ne sunt seniori cu vreo 4 luni si trebuie sa ne respectam varstnicii (hihihi)

                                    ...dar mai ales pentru ca ne sunt rivali, si asteptam ziua cand noi vom fi Supremii Recenzori de Filme Romani Non-Profesionisti in Mediul Online Privat (blog) si sangele vostru va forma lacuri la baza edificiilor cladite din comentariile subscriberilor nostri. There can be only one. (riff-ul cool din Princes of the Universe)

Tot asa inainte baieti!

http://www.mareleecran.net/

Thursday, November 10, 2011

The Lion King 3D - Regele Animatiilor

Cum de l-am vazut?
Nu ma omor cu Disney, dar asta l-am vazut acum 2-3 ani ca toata lumea zicea ca e bun. Apoi am vazut musicalul in West End, pentru ca Julie Taymor rules, si a revolutionat Broadway-ul, si mi-au ramas multe din melodii in cap. Cand am avut ocazia sa-l vad la cinema, nu am ezitat, mai ales ca am fost curios cum a fost aplicat 3D-ul unui film cu animatie old-school.

Dupa Alba ca Zapada, Frumoasa Adormita, Cenusareasa, Frumoasa si Bestia si Mica Sirena, Disney s-a trezit fara sa vrea cu imaginea unei companii specializate pe printese sientertainment pentru fetite, iar in anii ’90 s-a incercat schimbarea acestei imagini si atragerea unui public mai larg. In 1992 Aladdin avea ca protagonist un barbat aventurier, ca sa atraga baieti, si umorul improvizatoric al lui Robin Williams, pentru entertainment-ul adultilor.
Miscarea a avut succes si doi ani mai tarziu, Disney au scos ceea ce urma sa fie cel mai de succes film al lor, care are un protagonist si mai universal, un leu dragalas, care desi e mascul, e lipsit de stereotipurile asociate cu oricare dintre cele doua sexe. Dar nu asta e elemental major care scoate filmul in evidenta: acolo unde celelalte filme au protagonisti cu motivatii destul de simpliste, “viata e grea, vreau un happy-end”, aici avem personaje mult mai complexe.
Faptul ca povestea e bazata pe Hamlet, e unul din factorii majori care au contribuit la profunzimea subiectului, e greu sa dai gres cu Shakespeare, dar si partile noi contribuie; happy-end-ul lui Simba nu se atinge prin obtinerea unei averi, sau prin eliminarea antagonistului, convins ca el este de vina pentru moartea tatalui sau, tanarul leu fuge de viata si responsabilitatile sale, iar pentru a ajunge la solutie este supus unei crize de identitate si redescoperire de sine. In aceasta cauza este ajutat de doi mentori; unul e babuinul Rafiki, un batranel zvapaiat care aminteste de alti mentori amuzanti/profunzi, precum Yoda din Star Wars, dar ale carui bucati de intelepciune chiar au ceva de spus, asa simple si directe cum sunt. Celalalt mentor e Mufasa, tatal, care in stil hamletian apare sub forma de fantoma oferind catarsisul necesar; acesta mai apare la inceput explicandu-i micului Simba (si copiilor din public), conceptul Cercului Vietii, care include toate fiintele vii, si care ofera o viziune matura asupra vietii si mai ales a mortii. Poate pentru prima data intr-un film pentru copii, un animal pradator nu e doar o bestie fara minte, ci este chiar eroul, iar faptul ca ucide alte animale nu e un semn de cruzime si rautate, ci un aspect normal al naturii.

[Restul aici]

L-as mai vedea o data?
Cu copii sigur, dar si pana atunci poate m-as reuita, desi nu la cinema.

Tuesday, November 8, 2011

O mica suparare

De ce? De ce? Doamne, de ce?
De ce exista asta:
















Da. Adam Sandler joaca intr-o comedie unde interpreteaza nu doar rolul unui barbat ci si a surorii sale gemene. Deja rad ca lacrimi. Nu, sincer! Mi-am pierdut complet mintile la cat de retardata e lumea in care traim, si nu ma pot opri din ras. Noroc ca am tuica de Zalau de la tata, si poate ma va calma vreo juma de litru destul incat sa scriu asta.
Cand am vazut parodia la trailer la South Park acum cateva luni in episodul in care Stan isi da seama cat de cacat sunt de fapt unele filme, credeam ca e o parodie dupa filmele tampite facute de actorii din categoria lui Sandler si fratii Wayan. Nu credeam ca e chiar serios. (Bine, nici "Gulliver's Travels" cu Jack Black nu credeam initial ca exista de adevaratelea). Dar nu! Filmul exista. Cineva a zis ca Adam Sandler imbracat in femeie e o idee buna, La fel cum Eddie Murphy imbracat in femeie in "Norbit" a fost o idee buna si de succes. Si "Big Momma's" 2 si 3 au fost idei buni, si filmele lui Tyler Perry cu Madea au fost o idee buna, si Jim Carrey intr-un film cu pinguini a fost o idee buna, si "White Chicks"a  fost i aidiebaejbb  buabnvialjnvklnb\klf;cas cfkljdfb hdlsnvb;ld\ejs flk\jdb\dc;xklcfgpojughlkfnbkghfkl/ jhkhx;lkndh fsla\jmr;lmgnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn AAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!

Aveti ceva tare?
I blame you Robin Williams!!!!!!!!!!!!!!!!!!!!!!! Adica "Mrs. Doubtfire" a fost un film fain, dar pentru toate filmele retardate bazate pe aceeasi premisa care au pornit din cauza lui, nu a meritat.

Si ce...ce ziceam in postul de acum cateva zile cu "10 filme care mi-au bla-bla-bla"? Ca e greu sa gasesti un film care sa trateze serios subiectul unui barbat imbracat in femeie?

Sincer? Ce naiba? Adica daca ar fi bun, ar insemna ca ar functiona macar unele din poante si daca nu ar fi sora geamana a lui Sandler, ci doar sora, si ar fi o actrita sau chiar si alt actor in rolul ei. Adica umorul iese din situatii, din personaje, din neintelegeri. NUUUUUUUUUUUUU! Umor inseamna Adam Sandler cu o peruca si tzatze false. Absentii de cerebel care rad la filmul asta, nu ar rade daca ar vedea acelasi cacat cu alt actor. Dar pentru ca Adam Sandler vorbeste pitigaiat e amuzant. PEntur ca e amuznt sa teuiti la cacaiytiaiohnvn wjl nfkisbwkjcaen;io\jhn;lhruohrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr.

Dar ok. Unii se uita la aceste filme, si nu e treaba mea. Gusturile nu se discuta si nu pot sa hotarasc eu ca acei oameni carora le plac aceste filme sunt niste retardati tampiti fara creieri care nu merita sa se fi nascut care disturg lumea care is ultimul jeg care aisgura ca numa cacaturi vom primii in continuare care se uita la in bloc si  x factr va omor pe toti tampitilor va ucid ca scot ochii sa nu mai puteit vedea filme din astea am sa va supun la 100 de ore detarkovsky muriti muritimutimumuritimutiriMUIRITIYMURRITIMURITI.

Si pentru ca acesti cetateni de seama au acest umor aparte, studiourile stiu ca fac bani pe seama lor, continua sa finanteze aceste filme, pe care actori ca si Adam Sandler le accepte fericiti pentru ca si-au distrus sistematic sansele de avea roluri bune, si pentru ca trebuie si ei sa-si plateasca cocaina si prostituatele cu ceva. Chiar daca era o sansa de salvare la un moment dat, caci au demonstrat ca au talent in filme precum "Punch Drunk Love" si "Reign Over Me" si "Funny People" si "Eternal Sunshine of the Spotless Mind" si "The Man on the Moon" si...si...si...DE CE PINGUINI IN PULA MEA? PINGUINI DANSATORI? TI-AM IERTAT "YES MAN", CA ERA CU ZOOEY, DAR DE CE IAR FILME TAMPITE JIM? DE CE? E CU PINGUINI! SI BESINI! CUM AI PUTUT SA FI DE ACORD? CUM AI PUTUT SA CITESTI SCENARIUL SI SA ZICI CA E OK? NU BUN, OK? CUUUUUUUUUUUUUUUUUUUUUM?

Dar e ok. Sincer. Pot trai cu asta. Da, recunosc m-am uitat la trailer (uitati-va si voi daca vreti, UITATI-VA!) din pur masochism, dar in rest ma voi preface ca acest film nu exista. Nici macar nu voi citi recenziile care vor fi toate proaste, pentru ca nu e nimic ce poate spune oricine despre el care sa se apropie de parerea mea proasta despre el. Si o sa treaca si asta e. Dar o chestie nu am sa o inteleg. Se regaseste intr-un clip din film pe care l-am vazut pe IMDb, motiv pentru care nu am putut sa-l pun aici. Si anume asta



Da. Ala e Al Pacino. Al Pacino joaca in acest film. Da si Katie Holmes joaca intr-un film care nu i se potriveste deloc, dar Katie Holmes e proasta, si netalentata (deci cumva tot intra in decor). Dar Alfredo 'Fucking' Pacino? Nu imi dau seama de ce e el in acest film. Si nu e un cameo. Nu. Se joaca pe sine. Si e indragostit de Jill, de femeia jucata de Adam Sandler. Pentru ca aparent in parerea scenaristului Al Pacino e tampit (sa aiba si publicul cu cine se identifica).
Sa fie banii? Nu cred. Si da, cariera sa nu e tot acolo unde era o data, dar in ciuda la "88 Minutes" si "Righteous Kill", nu e intr-un punct rau. Nu e cea mai stralucita perioada, dar tipul face bine. Deci nici asta nu e.

Cred ca efectiv a vrut sa incerce sa joace intr-o comedie, si pentru ca habar nu are cu ce se mananca a crezut ca astea sunt comediile contemporane. Ca asa te arati unui public tanar.

Sau poate e senil.

E posibil.

Are 70 de ani.

Vreau sa cred ca asta e. E senil. Si drogat.

Adica scena cand tipa ii distruge Oscarul...Da! Exact! Tot ce a insemnat acel Oscar e distrus acolo.
Altceva ce sa mai zic? Nu avem ce face. Strumfii si Yogi Bear au ajuns in secolul 21, si danseaza, Jim Carrey s-a hotarat ca se pisa pe talentul pe care ni l-a demonstrat si danseaza cu pinguini, si Al Pacino danseaza cu Adam Sandler imbracat (prost) in femeie. Al Pacino. Cu Adam Sandler. Imbracat in femeie. Al fucking pacino cu adama fucking retard cunt dface sandleri in facuking fmeiemrein oscar pula mea dansajnailhnia ln\;ie jfnobeljkfblulkn iklkjlnk

Sunday, November 6, 2011

Bridesmaids (2011) - sau cum sa preschimbi testosteron in estrogen

N-am mai postat de foarte multa vreme, trec printr-o perioada acuma.... ma rupe scoala in doua (pentru cine nu stie, studiez arhitectura... kids, don't go there) si am un anunt de facut: ultimul film la care m-am uitat a fost "Bridesmaids" !!! Singur, intr-o duminica seara. Dupa care m-am dus si mi-am schimbat tamponul. Oficial, am nevoie de ajutor. I'm fucked. Filmul in afara de scena in care merg sa probeze rochiile domnisoarelor de onoare (care se intampla pe la minutul 45) unde am ras sa ma stric, efectiv cu asa o pofta cum n-am mai ras de mult, e o totala pierdere de vreme. 130min de pierdere de vreme. Lucru care iti dai seama din titlu in pula mea. Urmeaza sa-mi downloadez dracului un film din seria lui kolcs de filme faine de care n-ai auzit in viata ta, sunt unele foarte tari acolo...cam atat.

Thursday, November 3, 2011

ArsCinematica team is doing well

As you may know in September I was on the reviewing team for the Cambridge Film Festival's official publication: TakeOne.
Until this year the magazine ran only during the festival, but apparently the right people were impressed by this years team, and have asked to extend our work permanently. Thus TakeOne, the online magazine has come to be. And here is my first review, which I have already published here, for "Drive".

Monday, October 31, 2011

"There's only one problem with home cinema: it doesn't exist."

Comentariu si Imported Review from The New Yorker 


Daca va aduceti aminte (daca nu: Drive - Imported Review from The New Yorker) am mai publicat in Septembrie o referire la un review scris de Anthony Lane pentru The New Yorker. Si ca sa ii dam si putina credibilitate, tipul este critic de film pentru mai-sus-mentionata revista din 1993 desi salasuieste in Cambridge, England. Alte posturi pe care le-a mai ocupat includ editor literar pentru The Independent si critic pentru The Independent on Sunday iar in 2001 munca i-a fost recunoscuta prin National Magazine Award for Reviews and Criticism. Asa ca nu e doar un fel de Andi Moisescu.


Motivul pentru care scriu despre el este ca tocmai ce am mai citit un articol de-al lui. E un fel de semi-recenzie la "Tower Heist" si "Melancholia". Dap. Eddie Murphy si Lars von Trier. O alaturare de subiecte foarte ciudata insa legatura este interesanta. Stick with me for a while.


Primul am impresia ca va fi cel putin la fel de prost si cheesy si suparator de ne-amuzant ca si posterul de prezentare. Asta desi regizorul este Brett Ratner care poate ar putea aduce ceva din distractia lui "Rush Hour". Si pe langa cei doi crai din imagine mai are in cast o serie de nume sonore precum Alan Alda sau Matthew Broderick.


Al doilea subiect al articolului este noua creatie a lui Lars von Trier care o are ca protagonista pe Kirsten Dunst alaturi de Charlotte Gainsbourg (vezi "Antichrist") si Kiefer Sutherland (vezi "24"). Pentru review, over to you kolcs!


And now, the missing link. Punctul comun al celor doua este constituit de o perspectiva putin mai politica sau economica a industriei, VOD. Video On Demand. Adica acces direct prin telecomanda, acasa la tine, in pijamelele tale patate cu cafea, la orice ora iti convine.


Premisa este ca Universal Pictures a decis ca odata cu Turnul Jefuitor sa lanseze si un proiect pilot prin care acest film va fi oferit in Atlanta si Oregon on demand pentru "doar" 59.99$. Si asta la doar 3 saptamani dupa aparitia in cinematografe. De asemenea, Melancholia a fost deja oferit on demand din 7 octombrie desi premiera are loc pe 11 noiembrie. (Datele sunt preluate din articol, deci probabil nu se refera la Satu Mare ci la USA)


Concluzia nu o devoalez pentru ca va las sa savurati si voi articolul. Insa dincolo de aspectul creativ al acestei arte, cateodata poate e bine sa privim in afara bulei si sa re-descoperim in ce context global si financiar se intampla lucrurile. Si pentru ca am vorbit eu destul, va las aici o mostra din text. Enjoy:


[...]There’s only one problem with home cinema: it doesn’t exist. The very phrase is an oxymoron. As you pause your film to answer the door or fetch a Coke, the experience ceases to be cinema. Even the act of choosing when to watch means you are no longer at the movies. Choice—preferably an exhaustive menu of it—pretty much defines our status as consumers, and has long been an unquestioned tenet of the capitalist feast, but in fact carte blanche is no way to run a cultural life (or any kind of life, for that matter), and one thing that has nourished the theatrical experience, from the Athens of Aeschylus to the multiplex, is the element of compulsion. Someone else decides when the show will start; we may decide whether to attend, but, once we take our seats, we join the ride and surrender our will.[...]
Pagina 1 din articol
Pagina 2 din articol

Si nu in ultimul rand, daca mai cautati review-uri, might as well keep an eye on Anthony Lane. 


raluk.ro: 10 filme care mi-au placut si pe care probabil nu le stiti

Initial erau vreo doua filme care mi-au placut foarte mult si am vrut sa le impartasesc cu voi, dar nu stiam daca are rost sa le postez recenzii, considerand ca sunt filme mai vechi. Asa mi-a venit ideea pentru aceasta lista, sperand sa gasesc inca cateva titluri. Problema e ca am gasit prea multe, si nu stiam cum sa le aleg. Exista multe filme care imi plac si despre care majoritatea probabil nu ati auzit, si spun asta fara intentia de a fi snob sau a va subestima, dar nu cred ca multi cititori au o pasiune pentru filme mute ca si mine, deci as fi putut pune doua titluri de Buster Keaton de exemplu. Sau filme clasice, ca si "The Third Man", film in competitie cu "Citizen Kane" pentru cel mai bun film facut vreodata. Sau filme straine, "OldBoy", "Thirst", "Stalker", "Kontroll" etc. Asa ca am decis sa aleg titluri mai obscure, care si pentru mine au fost surprize si descoperiri noi. Nu sunt filme cunoscute, nici filme de nisa. Hei, multe dintre ele nici macar nu sunt bune. Sunt niste filme ce stau de ele singure, si ma bucur ca am dat peste ele, in mare parte accidental, caci le-am indragit pe loc.


Si acum impart cu voi cele zece titluri alese complet subiectiv:



Tuesday, October 25, 2011

Ars Cinematica...moving up in the world


Avem mai multe puncte pe ordinea de zi:

Punctul 1: NOI
Daca tot ne-am apucat, am zis sa ne facem vizibili si pe Facebook si pe Twitter. Asa ca luati de vizitati:
Ars Cinematica FB: https://www.facebook.com/pages/Ars-Cinematica/106492719458700
Ars Cinematica Tweety: http://twitter.com/#!/ArsCinematica

Punctul 2: DESPRE NOI
Si pentru cei mai abili si mai subtili, veti observa ca am pus si ditamai logoul pe blog. Mai avem si un fel de mascota care apare doar pe FB momentan pentru ca este, cum ar zice IMDb-ul, in development.





Punctul 3: CU VOI
In spiritul democratiei, va invitam pe toti sa va exprimati liber opinia despre logo si mascota sub forma unui criticism constructiv. Or you can just be rude about them. Daca va plac, votati INTERESANT. Daca va displac, problema voastra. Ahem. Daca va displac, votati IRELEVANT.

Punctul 4: MISCAREA "OCCUPY ARS CINEMATICA"
Si daca tot avem asa un avant social de deschidere catre public, ne-am gandit sa ne aliniem hippiotilor din toata lumea. Cum? Nu prin protest cum v-ati fi asteptat...Daca aveti sugestii de filme, shorturi, si alte chestii cinematice interesante despre care vreti sa scriem, please comment and we will be happy to oblige. Within reason.

Sunday, October 16, 2011

Trailer de final de saptamana: The Avengers

Dupa teaserul pe care l-am primit la finalul lui "Captain America", care ne reamintea care actori au jucat in celelalte filme Marvel (mai putin, ahem, Edward Norton), avem in sfarsit un trailer mai substantial.

Partea care ma bucura cel mai mult, Tom Hiddleston pare a fi primit un rol ceva mai elaborat si mai kick-ass.

Tuesday, October 11, 2011

Don't Be Afraid of the Dark - del Toro non del Toro


Produs de Guillermo del Toro (care insa nu regizeaza), filmul promitea a fi horror-ul anului, trailer-ul cel putin promitea un El Laberinto del Fauno foarte, foarte infricosator, dar finalmente, desi ne este prezentat un produs decent, filmul nu a redefinit genul si, din pacate, nu e urmat de nopti nedormite.
Sally: What are you?
Voices: …hungry…
Sally (interpretata de Bailee Madison), o fetita de vreo 9 ani, e trimisa de mama ei divortata sa locuiasca cu tatal si noua lui prietena. Un cuplu de arhitecti-renovatori, acestia se muta intr-o vila veche cu scopul de a o restaura si vinde. Lasata sa se plimbe de capul ei, Sally descopera un beci ascuns, si cand nu e nimeni in jur aude soapte dintr-o soba. Ca orice copil normal de varsta ei, nu se sperie absolut deloc, ci decide sa se imprieteneasca cu posesorii vocilor. Acestia insa au planuri mai putin amiabile.
Despre regie si actori ce se poate spune?
Dupa cum spuneam, Guillermo del Toro iarasi

Saturday, October 8, 2011

Trailerul zilei: The Raven

Din seria filmelor care iau povesti clasice si le fut brutal pana nu le mai recunosti, vine "The Raven", de regizorul care a facut "V for Vendetta". O corcitura Vidocq, Fratia Lupului, From Hell si poate chiar Guy Ritchie's Sherlock Holmes, filmul il urmareste pe nimeni altul decat Edgar Allan Poe (jucat sec de John Cusack) care face echipa cu un inspector al politiei cand un criminal in serie imita crimele din povestile autorului.
Daca as fi avut 13 ani probabil as fi fost super-hyped de acest film, dar momentan imi pare foarte neinteresant. Vom vedea.



Aspect al filmului care insa totusi mi-a starnit interesul sunt posterele:

Unul minimalist, fundal rosu cu o pata neagra in forma de corb sangerand pe titlu:










































Si un al doilea din scoala Ralph Steadman, desi inca nu am reusit sa determin daca chiar el e autorul sau doar cineva care il imita bine. Oricum ar fi, rezultatul e de apreciat. Din nou o abordare minimalista, cu un titlu scris parca cu disperare in sange, si o pata rosie-neagra care aminteste de o pasare. Posterul se potriveste perfect cu tema de violenta si nebunie macabra.

Monday, October 3, 2011

Tinker Tailor Soldier Spy


Apas play. Porneste trailer-ul. Gary Oldman. Hm. Ceva drama politica in anii ’70. Ar putea fi interesant. John Hurt? Ok. Spionaj. Mark Strong.Ciarán HindsToby JonesTom Hardy? Ce e asta si unde ma inscriu?
Asta era acum cateva luni cand am auzit pentru prima data de Tinker Tailor Soldier Spy (titlu pe care cu siguranta il vom vedea prescurtat TTSS pe diverse bloguri si in publicatii care sunt la curent cu tinerimea). Nu stiam atunci de John le Carré si romanele sale de spionaj sau despre serialul din anii ’70 cu Alec Guinness, dar interesul mi-a fost starnit.
There is a ‘mole’ at the top of the ‘Circus’
Anii ’70, dupa ce o misiune de a rapi un general rus in Ungaria merge gresit, “Control” (interpretat de John Hurt), seful agentiei britanice de spionaj, MI6, si cel care a ordonat misiunea, este obligat sa-si dea demisia, alaturi de protejatul sau George Smiley (interpretat de Gary Oldman). La capul agentiei raman patru barbati, unul dintre care preia rolul lui “Control”.
Luni mai tarziu, “Control” moare iar Smiley incearca sa se obisnuiasca cu pensia fortata, dar lucrurile sunt puse in miscare cand un agent renegat il anunta pe Prim-ministru ca unul din cei patru barbati ramasi la MI6 este de fapt un spion al rusilor. Smiley e contactat si primeste misiunea secreta de a-si folosi anii de experienta in spionaj pentru a afla care e tradatorul.
How do you find an enemy who is hidden right before your eyes?
Gadget-uri de ultima ora, scene de actiune cu masini si impuscaturi, femei, antagonisti a caror mega-planuri afecteaza lumea intreaga, calatorii in jurul globului, femei, cam asta iti vine in cap cand te gandesti la filmele de spionaj a la James Bond. Chiar si cu versiunea gritty si de-kitsch-ata din era Daniel Craig, ce avem in fata sunt la baza niste filme de actiune destul de sablonarde si care nu-i prea atrag pe cei ce nu sunt fani ai genului.
Iar daca asta cautati si in acest film, s-ar putea sa [restul aici]

Sunday, October 2, 2011

Trailerul zilei: The Other F-Word

Documentarul pe care il asteptam momentan. Nimic extraordinar dar ar putea fi amuzant.

Wednesday, September 28, 2011

Podcast of Radio Session about Cambridge Film Festival and Romanian Cinema

You can find the recording of last saturday's Bums on Seats show, on which I was on discussing Romanian New Wave with the host.
I'm on after about thirty minutes.

http://cambridge105.fm/wp-content/uploads/podcasts/bums-on-seats-2011-09-24.mp3

Monday, September 26, 2011

Cambridge Film Festival 2011, Day 8

Last day. As tradition there was a surprise film closing the festival. Only the surprise was even bigger, because this year there was a second surprise film.

18:00: Surprise Film 1: Steven Sodebergh's Contagion an analitical, almost documentary style drama about a an epidemic of a new deadly decease. The film avoids classical melodramatic tropes of disaster films (so it isn't Roland Emmerich). A great cast as well.

20:15: Surprise Film 2: The Debt  A drama/thriller with Helen Mirren, Tom Wilkinson, Sam Worthington and Jessica Chastain. Really was a surprise, and a pleasant one.

Sunday, September 25, 2011

Cambridge Film Festival 2011, Day 7

11:30: Discussion about The Romanian New Wave on Cambridge105 Radio. Bums on Seats is a weekly radio show dedicated to film. This week I was invited by host Toby Miller to discuss Romanian cinema and it's future during one part of the show. A podcast will be available soon.

15:15: Niki&Flo (Niki Ardelean, Colonel in Rezerva): the third film by Pintilie to be shown at the festival (I missed the first one: "The Oak").


In the third film by Lucian Pintilie shown during the Romanian New Wave section, we find Niki (Victor Rebengiuc), a retired colonel, who isn’t very happy. His son just died, his only daughter is planning to move to the US with her husband and his wife is sick. On top of this he has to deal with Flo, the father of his daughter’s husband and next door neighbour, an obnoxious and eccentric former hippy, who believes himself to be the smartest and best thing the World has to offer, and who loves bossing people around, especially Niki.
With both his children gone and nothing left but routine, Niki’s feeling of unimportance grows and he quietly yearns for the happiness of the past.

In contrast to his previous to feature films (“The Oak” and “Afternoon of a Torturer”, both shown at this festival) “Niki and Flo” has a more connected and straight narrative, though still avoiding classic story-telling techniques. The film moves forwards slowly, and though little seems to happen on the surface of the scenes, beneath them storms are raging, leading us to a blunt and surprising conclusion, which still makes perfect sense.

At some point the film reminds one of Eugen Ionescu’s “The Rhinoceros” where characters are sitting at a table talking in parallel and over each-other, hardly making room for a conversation, but where Ionescu’s work fell into the Absurd, here the situations remind us of the real life.

18:00: Romanian Shorts: five Romanian shorts selected by Anamaria Marinca. Strung Love a hilarious short film about love in high-school during the communist era with Alexandru Potocean. Music in the Blood (Muzica in Sange) a lighthearted drama about a man who believes his son could be the next big manele singer, with Andi Vasluianu and Dan Bursuc. The Counting Device (Numaratoarea Manuala) a comedy about a man who brings his nephew to work to find him a job, only to find that the young man doesn't appreciate an honest and mundane job. Stopover a great short film about a woman having her wallet stolen in an airport and receiving help from an unlikely source. Oxygen a slow-burning, poetic film about those who tried to cross the Danube to escape the communist regime.

22:30: Silent Running: A classic SF from 1972 with Bruce Dern, about a man who is taking care of the last existing plants somewhere on a space station. When the order comes in to abandon the project and destroy all plants, he decides to fight for what he thinks is the salvation of Earth. 

Saturday, September 24, 2011

Cambridge Film Festival 2011, Days 5 & 6

With all this moving to London business I didn't have that much time for the festival or the blog. I didn't see anything on Wednesday, so days 5 and 6 will refer to Thursday and Friday.

Day 5:


12:30: Afternoon of a Torturer (Dupa amiaza unui tortionar) This years festival has a section dedicated to the 10th year Anniversary of the Romanian New Wave. This includes five feature films (three by Lucian Pinitilie, selected by the director himself, and two selected by Anamaria Marinca) and one showing of several short films.
This film was made in 2001 by Pintilie, whose work helped the shaping of the New Wave and opened roads for younger directors. The Tarkovsky influenced film moves ahead slowly but shows a gripping tale.

Review I did for the Festival Magazine, "Take One":


Afternoon of a torturer

In one of the earliest films of The Romanian New Wave, director Lucian Pinitilie gives us a glimpse of yet another facet of the communist era and especially its effect on people long after it has fallen.

The film follows a young reporter and an old professor, who had been incarcerated and tortured in the sixties by the communists, as they spend an afternoon at the farm of a bee-keeper, who in his youth had been convicted of parricide and in prison educated to be a torturer of political prisoners, who in the eyes of the government where a far greater problem than mere murderers and rapists.

Years later he wishes to confess his crimes, to cleanse his soul, only to find that not many care about what he has to say. Not his wife, nor his son, not even his victims. So he must contend with a guilty conscience.

The near-plotless film is heavily dialogue driven, most scenes taking place around a table where the three discuss. But expect no Tarantino-style quick and witty lines, as in many other current Romanian films, there is a minimalist approach, with long, still shots following the slow moving, often interrupted, dialogue, intertwining these scenes with a selection of symbolic images of ghosts past.

A film which has laid the basics of the New Wave, it poses the question of what is evil and what is its legacy, throwing black and white into a grey area.

Day 6

13:30: The Paper Will Be Blue (Hirtia va fi albastra): A powerful, even if confusing, film by Radu Muntean with Radu Ipate, Andi Vasluianu (in a brilliant performance) and Dragos Bucur.

This 2006 film by Radu Muntean focuses on the night of between the 22nd and the 23rd of December 1989, when in Bucharest the Revolution was in full swing. People were in the streets, the Ceauşescu’s had fled and Communism had basically fallen. Yet a full-out war was still going with several sides shooting at each other, even though nobody knew exactly on whose side they were now.
Costi is a young man in a Militia unit on a patrolling mission through the streets. Seeing civil revolutionaries celebrating freedom and fighting to the defend it, he deserts his unit to go and fight with them. Not knowing what the final results will be, and not wanting to get into trouble, the commander of his unit decides to go looking for him.
What follows is a record of the chaos which has dominated those final moments of the Revolution. There is violence, there are gun battles, yet nobody knows what really is going on, with contradictory orders and contradictions dominating the scene.
Watching the film you will find yourself confused as to what the motivation of some of the characters are, or who exactly is pro- and who is antirevolution, but this is the confusion you share with the characters themselves.
Despite the ambiguity, the things which remain clear are the human emotions, the fear of death, the desire for freedom or a mother’s worry for a son gone missing. These being the elements which deliver a strong and engaging film.

18:15: Tridentfest 2011: For those who don't know, Tridentfest is a sort of festival within the festival showing films made by Arts Picturehouse (the main venue of the festival) employees, who prove to be very talented writers/directors/actors. From 1 minute films which make not much sense but are hilarious, through 5-10 minute more serious attempts and leading to the 30 minute epic "The Purple Fiend" it was greatly enjoyable throughout (and very silly indeed). You can see the films and learn more about the guys on Project Trident.

20:30: Occident + Discussion: Cristian Mungiu's hilarious debut (between this and "Tales from a Golden Age" it is hard to believe that this is the man who made "4 months, 3 weeks and 2 days"), the film which kick-started the Romanian New Wave, opened the road to Cannes and other festivals. Although a comedy, the film doesn't lack a solid backbone, with a Pulp Fiction style triple-parallel story and engaging characters (and Ioan Gyuri-Pascu).

Anamaria Marinca was supposed to be present at the screening and afterwards participate in a discussion with Verena von Stackelberg (a German enthusiast of Romanian Cinema, who helped put the section together) and film-critic Steve Williams. Unfortunately she couldn't be present, so the organizers thought that any Romanian will be better than none, which is why at the start of the film I was invited to participate in the discussion. Apparently I didn't do to bad in a discussion focusing on the cause and past of the Current and its possible future.

“A Romanian comedy?” I heard someone asking in disbelief after the film was over. And truly, the main memories evoked by the words “Romanian New Wave” are usually tedious long shots of aborted babies and people walking. It is no wonder then that it is hard to believe that one of the founding films of the new wave, Cristian Mungiu’s (yes the one who bagged a Palme d’Or with “that abortion film” as critics like to call it) 2001 hit “Occident”, is a hearty comedy. But fret not, if you have come to see people coping with a society crippled by 40 years of Communism, you will not be disappointed, for this is exactly what the films delivers. But in their problems and tragedies humour somehow found its place.
In a “Pulp Fiction” inspired triple narrative, we learn the stories of: 
-two lovers, one of which wishes to leave the Go-forsaken country for a better life in the West;
-a girl being abandoned at the altar, and her mother trying to find her a suitable husband via an agency, from, you’ve guessed it, the West;
-a man coming back to Romania from the West in order to return the belongings of a friend who has passed away there.
It is a delightful film with a surprising craft in combining humour and drama, the latter feeling close to what real life might have to offer. The added bonus of a brilliant cast make this one of the feel-good winners of this Festival. 


Wednesday, September 21, 2011

Trailerul zilei: J. Edgar

Biopic dupa viata tatalui FBI-ului, J. Edgar Hoover, cu Leonardo DiCaprio in rolul principal si sub regia lui Clint Eastwood. Deci sperante mari.

Cambridge Film Festival 2011, Day 4

Another bloody day

23:00: Red State - Kevin Smith's surprising turn as a non-comedy non-View Askew director, with no cameos by himself or Ben Affleck or Jason Mewes or the rest of the crew. Starting of with a classic teenagers torture by redneck community exploitation flick, the film turns into a violent shootout film with unsure political messages. A bit of a mess, fucking entertaining though

Tuesday, September 20, 2011

Cambridge Film Festival 2011, Day 3

Today was a violent bloody day filled with vengeance and self-made justice.

16:00: Drive + Q&A with director Nicolas Winding Refn Jesus! An intense movie, altering quiet moments with uncensored violence. Surprisingly good and one to make you think. Review below.

22:30: Sympathy for Mister Vengeance As I said: Jesus! If you have seen "Oldboy" you know what you are in for, though this time the story is a bit more grounded. Still, beautiful images, shakesperean vengeance story and characters, and great acting...oh and bloody, gruesome violence. Enjoy!



Enter Hero. Enter Psycho. Enter Saviour. Enter Devil. Enter Driver.
Ryan Gosling plays the unnamed protagonist in Nicolas Winding Refn’s new film about a Hollywood stuntdriver, who makes some extra cash by doubling as a get-away driver, THE get-away driver.
A stoic character who apparently hasn’t heard of the term “adrenalin”, the man is as calculated and precise in his life as he is when he is doing dangerous stunts for action movies.
Enter Carrey Mulligan’s angel-faced, kind-hearted, single mother, Irene, who cannot but disturb his self-imposed apathy, as evidenced by his shy, child-like smile, which shows up whenever she’s around.
Despite his illegal preoccupations, Driver has strong personal principals, showing unconditional kindness towards Irene, her little son, and even her husband, after he returns from prison.  A true gentleman. Also a psychopath.
When former associates of the husband show up and threaten the woman he won’t verbally admit he loves, his response is quick and extremely brutal. Hammers are used for purposes the makers did not intent, lives are ended by shot-guns and heads are bashed in with boots. All in their uncensored inglory.
Channeling Robert de Niro’s Travis Bickle and Chan-wook Park’s OldBoy, Driver makes his own justice, and woe to those who stand in his way.
The film repeatedly goes from naught to sixty in mere seconds, from very intense quiet moments to explosive scenes of violence, blurring the line between hero and villain. It will draw you in from first to final breath. 



Monday, September 19, 2011

Universitality and Cultural Diversity: Interview with Deepak Verma

I am sitting here with Mister Deepak Verma. Am I saying it correctly?

Yeah.

Sorry, I’m not from England, so I wasn’t…

Well neither am I.

Fair enough.
We just came out of a viewing of “Mumbai Charlie”. This is your first directing feature…

This is my first directing film, I’ve directed a lot a theatre before. So when I wrote the film I had the idea, well its based on this real story of this community in India who worship Charlie Chaplin, it’s based on this doctor who loved Charlie Chaplin. When the Earthquake happened in 2001, he wanted to bring laughter to this community so he set up this Charlie circle, teaching people how to walk like Chaplin, how to find their inner moustache, which is kinda what the film is about. So I wanted to have a bit of a laugh at that with the film. The short film is about that, about finding this business-man, who all he thinks about is business, making money, and he realizes that he not living his own life, his living his dad’s life, and when he meets this community, he finds his inner Charlie, that’s what the film is.

How did you first discover Chaplin?

Well I’ve watched Chaplin for years, but I think when I found this article one day on the Tube about a community in India, where they celebrate Chaplin’s birthday every year, I’ve obviously compounded all that experience as much as I knew, and I realized that the guy was very much like a god of film, I mean a lot of what he did…now we don’t really realize that it was Chaplin that create it. The comedy. I mean he’s universal, and universal comedy is a bit like gold dust. Cause nowadays you can watch a film and maybe some people like it and some people don’t, at the time, everyone loved Chaplin. Everyone. I just came back from Kerry where they did the Charlie Chaplin Comedy Film Festival, where I had this film as well, and they absolutely loved it. And you really realize how much love there is for Chaplin still. And Chaplin’s son Christopher did some of the music. The estate helped us, and we used “The Great Dictator” speech, which is just beautiful.

I’ve been a huge Chaplin fan for a few years now, and even though I hadn’t seen any of his films for quite a while, watching your movie now evoked those emotions of…magic.

Well yeah. It’s magical. He really talks to you. You do a little [wiggles his upper lip in classical Chaplin fashion] and you look at the camera, and…there’s a bit of Charlie in everyone. And that’s what the film’s about. About finding that. Cause I think we’re living in a very…erm, the speech that we use from “The Great Dictator”, which is like: we found speed, but we’ve lost the way. We’ve lost the way. Everything’s fast, everything’s quick. We’ve lost the moment. And it’s about finding the moment, which is what all of Buddhism, all of Yoga, all about any form of meditation, spirituality is about, about being in the moment, and that’s what he is. If you look at Chaplin, he is in that moment, right there! That’s all that matters.

One thing said about Chaplin is, that he gave a voice to the impoverished, to the people living in the Depression, do you think that your film, which is set in India gives a voice to…

Well I think that was the point, I mean obviously he was brought up from a poor background, he was in the workhouse, his mum was ill and poor and all of that, but inside him he had this journey that he had to make. And when he made films later on he always referred to his youth, the tough times that he had. A lot of his films…”The Kid” I think is great because in a way the Kid is him, some of it, that character, the boy, the little boy. And also, I’m from India, I was born in India, and we’re from a quite, well-to-do family, but you’re still on the streets, you’re still ducking and diving, so I wanted to really use that, just to be in India, to work in a slum, the people in the slum, and just kind of get to know them. It’s just a pleasure and a privilege really, and quite moving for me is that, while working, this time they really treated me like an Indian, cause usually they treat me like a tourist, white man, cause no matter how good my Hindi is, it’s still got a little accent.

You said Charlie found a bit of himself in the Kid, do you think that in this film there is a part of you in the main character?

Absolutely, I mean I think when…well there’s a doctor character who teaches everyone how to be Chaplin. The character of the Doctor is very much me, he’s somebody who wants to change the World, he’s got his own idea of the World, that people don’t necessarily understand what he’s talking about half the time, but some of the time they do, and when it works it works, when it works you see what he’s talking about, you see what the message is. And his message is: Follow your truth, follow your bliss. Which is kind of what I’ve always done, you know, follow the truth, follow the art, do what you really want to do, not what other people brainwash you to do. And that’s what the film is really about.

Chaplin is universal, but he is a Western creation, and in the film we have him recreated by someone in the East. Now in 1998 you founded Pukkanasha Films, the productions of which combining cultures, cultural entities…

Well, yeah, I think I would say that I want to tell stories which are universally appealing, whether they’re English, American, Indian, whatever. Obviously the first couple of projects that I want to do have got that cultural context, but, we’re looking at a Spanish project, we’ve got an American project, and so, I think to set out to do a diverse project is not the way I work, I want to a project where the characters have a great and amazing journey which appeals and speaks to everyone, and so there’s a story. I believe there’s structures in filmmaking, there’s designs, and you go to do this and you got to do that, but I think with “Mumbai Charlie” some people watch it and think “What is that?”, it’s a bit strange, it’s a bit magical, and the aim is a bit “Alice In Wonderland”. It’s a bit “Alice in Wonderland” inspired, when he drinks the medicine from the doctor, who’s a bit like the Mad Hatter, so all of those influences are there.

What do you think about how different cultures are represented by the English media: films, tv. Obviously, you’ve been on “Eastenders”, and you were amongst the first characters to bring cultural diversity. What do you…

I am very proud to be in that position, where the character was the first Asian/Indian character there, whom the people just saw as a character and just loved as a character, and not as some Indian guy. And that for me is very important, and I think it’s very wrong to just start being diverse, and I think that that’s where some of the Film Council, the ex-Film Council, and some of those organizations…you know, organized diversity does not work. It just doesn’t work, it’s a failure, and it doesn’t really say anything. It’s just ticking boxes, and employing people who…I don’t think people from certain minorities should get a leg up. If you’re good, you’re good, if you’re not good, you’re not good. So I really believe it’s about the story, and this film was made with private money, and it is what it is, you know what I mean? I’m not ticking any boxes, I’m just doing what I want to do. To me that’s really, really important, because I think that’s where this companies get it wrong, where an x amount of money will go to black filmmakers, and x amount will go to Asians, I think that’s wrong, I think it should go to the best filmmakers, and if none of them are black, fine, and none of them are Asian, fine, if all of them are Asian, great. That’s what I think, which people won’t like but.

Do you think your cultural background has hindered you from finding any work in England?

No, I think if it’s hindered me it’s something that has to do with what I do as a person, and if anything has propelled me, it’s what I’m doing. I have this saying: “it’s not where you’re from, it’s where you’re at.” And if where you’re at is telling you to seek stories, than people will follow you. But if you keep barking about how “I’m Asian, and he doesn’t earn enough money…” But that’s not the way to…I think it’s rather about what you want. At the end of the day it all comes down to script, and character and obviously idea, that’s all it’s about, it’s about nothing else. When form-filling takes over that, which a lot of times it does, a lot of film-makers do get financing because they just know how to fill in forms and they’re from a particular cultural background. That does happen, it does. People will deny it, but it happens. I think that’s just gonna get nowhere. You might take the forms and send them to DCMS and say we have that many blacks or Asians, and it doesn’t do anything for me. I think it is the same for theatre, I think it’s just about what is interesting.

You are now preparing a musical version of “Wuthering Heights”, what other projects do you have lined up theatre-wise?

“Wuthering Heights” is going to be a musical with a big West-End angle, that’s the idea; “Mumbai Charlie” as a feature, people love the film, so, see how that goes. And I’m working on “Jane Eyre” as a theatre show as well, using Calcutta as a place. Cause “Jane Eyre” is about a girl who is raised in a convent, and kind of finds herself, I think most things I write are about persons finding themselves. So I am working with some actors I know. What I like is to have the idea, get the actors, do the workshops and I am quite lucky who you pay them and they do it. You just don’t wait around for subsidies, just get one with it. There’s always ways to do things.

Until you get started on the feature length version, what is in the plan for “Mumbai Charlie” now?

We’re going to festivals. It’s playing in L.A, we’re playing at AFM [American Film Market, I think] I hope, where we are doing an independent screening, period. And, it’s won an award at the Honolulu Film Awards, which is an interesting place to win an award, it’s going to Atlanta Shorts Fest, it’s going to various festivals. Where take it around the festivals, and then we can see where we stand here.

Sounds good.

Ok.

Ok. Thank you very much. Good luck.

Thank you. 

For more information about the Cambridge Film Festival click here