Do You Remember The Past?

sebuah film jadul, lebih tepatnya tahun 1998 (tidak jadul jadul amat sih), tapi bagi saya itu adalah film yang cukup lama, hehehe, menarik dan unik, kebetulan saya mengincar film ini sudah cukup lama, tapi baru kesampaian ditonton sekarang, banyak orang membicarakan bahwa the matrix trilogy terinspirasi film ini, bahkan ada adegan adegan dalam the matrix mirip mirip dengan adegan dalam film dark city ini, dibintangi beberapa artis yang lumayan terkenal, seperti kiefer sutherland, william hurt, dan juga jennifer connely, dan ternyata sutradaranya adalah alex proyas, yang membesut I Robot-nya will smith dan juga knowing-nya nic cage, jadi mungkin tidak salah film ini sudah jadi incaran saya dari dulu, dan ternyata benar, kualitasnya tidak dapat diragukan lagi, another best sci-fi movie from proyas.

bercerita tentang seorang pria bernama john yang terbangun tidak sadarkan diri di tengah malam tepat jam 12 malam dan mendapati bahwa dirinya berada di sebuah kamar hotel yang didalamnya ada seorang mayat wanita yang baru saja terbunuh, merasa pusing dan panik john tidak ingat apapun sampai dia terbangun dari tidurnya, tiba tiba saja ada telepon dari seseorang untuk menyuruhnya pergi secepatnya karena akan ada sekelompok orang yang mengejarnya, dan john pun melarikan diri keluar hotel, tapi dia mendapati semua orang di hotel bahkan di luar hotel tersebut tertidur semua dengan keadaan tidak wajar, dan dia menyadari jika jam 12 malam tepat seisi kota tertidur tiba tiba dengan tidak jelas, dimanakah dia berada, dan siapakah dia?

film yang mungkin saya sebut bertemakan anti-reality, hehe, ya intinya film yang membalikan kenyataan bahwa kita semua ini hidup dalam dunia ini adalah tidak nyata, tema tema film seperti ini memang membuat saya selalu tertarik, seperti contoh mungkin ada vannila sky-nya tom cruise, the 13th floor, the matrix, dan masih banyak lagi mungkin film film yang mengusung tema ini, dark city pun disajikan dengan sangat sempurna oleh proyas, dengan latar belakang kota yang selalu diliputi malam, gelap, mencekam, dan sekaligus misterius makin menambah lengkap pencarian kebenaran atas apa sebenarnya yang terjadi di kota itu oleh john sendiri, dan anda akan menemukan jawabannya ketika film ini akan mencapai endingnya. enjoy this one, if u really a big fan of sci-fi movies.

Lara Stone's famous bleached brows

It’s quite a contrast, in the 80’s big brows were the standard, but in this millenium it seems to go in the direction of…no brow. Or the bleached brow, if you don’t want to pluck them.

The inspiration for this article came to me while watching Australia’s Next Top Model, which is being broadcast on the Dutch TV since last monday. The girls are obviously bigger bitches than the Dutch girls, because they plucked the brow of one of the girl while she was sleeping. Not very nice…

So the girl ended up with a half plucked left eyebrow and the other one still intact. What to do? Pluck it all? Or continuesly refill the brow with a pencil? And is there a defined trend of how to wear our eyebrows these days?

I once plucked mine a bit too much- thin brows had a little revival in the nineties- but now prefer them well shaped, but not too thick. Bleached brows look good on Lara Stone, but I hated them on Cate Blanchett in Elizabeth. The other extreme was Jennifer Connelly’s almost una-brow when she played in Labyrinth. And there is Dita von Teese’s perfectly groomed arch. What is your preffered browstyle?

“9 – A Salvação”, a fantasia épica e pós-apocalíptica do diretor Shane Acker, é, na verdade, a versão longa-metragem de seu curta homônimo, indicado ao Oscar em 2005. O roteiro dessa é de Pamela Pettler, que também escreveu o ótimo “Casa Monstro”. Completando o time de estrelas por trás das câmeras, a produção ficou a cargo de Timur Bekmambetov – diretor de “O Procurado” – e ninguém menos que Tim Burton. A participação de Burton em “9 – A Salvação” gerou um imenso ‘buzz’ em torno do filme, o que acabou sendo um forte chamariz para os expectadores nas salas de cinema mundo afora. Dublando a animação, temos figuras igualmente conhecidas como Elijah Wood, Jennifer Connely, John C. Reilly, Christopher Plummer, Martin Landau e Crispin Glover.

Ta bom pra você? Até estaria, mas o filme – para o nosso deleite – não se sustenta só através desses nomes famosos. O mérito dessa animação é a combinação de 3 elementos preciosos: o estilo visual peculiar de Burton, as sequências de ação de Bekmambetov e a história idealizada por Acker. A síntese disso tudo é uma produção cinemaográfica imperdível, inteligente e cativante. Mas não se engane com o aspecto amigável do protagonista 9 e seus amigos; eles são simbólicos, assim como quase tudo no filme. Estamos diante de uma animação totalmente voltada para o público adulto. Toda a ambientação catastófrica, as referências claras ao nazismo, a brutalidade de algumas sequências e até um cadáver (sim, um cadáver!!!) em ‘cena’ corroboram esse aspecto.

Quando 9 desperta, ele se encontra em um mundo pós-apocalíptico onde não há mais humanos. Explorando esse cenário cataclísmico, descobre uma pequena comunidade de outros como ele, se refugiando de assustadoras máquinas que perambulam pela Terra em meio à extinção de todo o resto de vida. 9 convence o grupo de que esconder-se não adiantará por muito tempo. Para sobreviver, eles precisariam tomar a ofensiva da situação e ir em busca de respostas, e entender por que as máquinas querem destruí-los. É então que eles aprendem que o futuro da civilização pode depender somente deles.

No entanto, em meio a todo esse caos e destruição, ao longo de “9 – A Salvação”, nos vemos sumariamente envolvidos, tamanho o carisma dos 9 pequeninos bonecos de pano. Cada um com características bem específicas, estereótipos, que foram muito bem explorados nos cartazes de divulgação que você pode conferir na galeria ao final desse post. O aspecto gráfico é outro ponto alto. A tecnologia de animação de que os estúdios dispões hoje em dia, permitiram a criação de um ambiente igualmente belo e estéril. E nele, se desenrolam envolventes cenas de ação, com pitadas de heroísmo e humor. Assista-o em uma boa sala de projeção ou em seu home theater fodástico e se delicie com a riqueza de efeitos sonoros, satisfação garantida!

O Ogro recomenda e, assim que sair em dvd, esse é um filme certo de estar em uma estante aqui da Caverna! Se liga no trailer:

Jennifer Connely.  Oh me, oh my.  She is one of my ultimate girl-crushes.  Or lady obsessions?  Or whatever.  I have sat through some shit-tastic movies just to see her striking crazy green eyes  gazing back at me (specifically me).   I am SUCH a sucker for beautiful eyes.  It doesn’t matter if they are dark and soulful in nature or bright, light and piercing.  I just can appreciate a good pair of ojos…among pairs of other things.

I love how natural and real she is.  She has an amazing body.  She has beautiful dark features… you know I love a strong brow!   And she’s a fearless actress–and it’s admirable.   Her roles in House of Sand and Fog, A Beautiful Mind and Blood Diamond, and Requiem for a Dream were all played beautifully.   She is one of my favorite actresses as well as one of my favorite pieces of eye candy!

David Bowie and Jennifer Connely starring in the movie "Labyrinth."

If you have not yet viewed the 1986 cult classic “Labyrinth,” I suggest you run down to the nearest Blockbuster or Netflix it immediately. I am a huge fan of this movie and as I was browsing through my Netflix account the other day trying to find a movie to watch instantly on my computer I came across this old gem.

The “Labyrinth,” encompasses the journey of 15-year-old Sarah, who is fed up with the harsh life of babysitting her little brother while her “rotten” parents constantly misunderstand her. So fed up with the trials and tribulations of teenage angst she calls upon the goblin king (David Bowie) to take her annoying little brother away so she will never have to babysit again. However, thinking that the goblin king of goblin city is fictional, she is shocked to find her baby brother moments later, gone from his crib. With that, the goblin king appears before her, offering her a life filled with whatever she desires as long as she promises her baby brother to remain with the goblin king forever. Suddenly realizing the fate she unintentionally placed on her innocent baby brother, she urges the goblin king to reconsider and return him. But alas, he refuse, the only chance she has of ever getting her brother back would be to complete the daunting and ill-fated journey of solving the Labyrinth which leads to the castle of the goblin king, and only when reaching his castle will there ever be hope of seeing her beloved sibiling again.

After watching this film for the 5th time, I realized now, more than ever, that when you stray away from the path that you are currently on,whether it be unintentional or not; can be a monumental moment.

When life becomes so predictable and routine, we tend to forget the greatness of the world and for that matter, take for granted the people and places that surrounds us. So when we lose track of where we are, trip over a rock, or get bumped towards another path with no clue how to get back to whatever we left behind; we become disoriented. Even though this disorientation can be for only a few seconds or last a life time, the fact of the matter is, if we are never driven onto paths that are unknown or scary, we can never learn to find the means to embrace life wholly or carve out a new distinct one.

How liberating it is to get lost, to drift away from a fixated path, to walk besides an unknowable shadow. Lose your way in the Labyrinth of the everyday, take a wrong turn, walk backwards,stop calculating your route; guess.

Remember as the wise man said to Sarah in the film, “forward is sometimes the way back.”

Outro dia meu namorado, cansado de ficar olhando pra Evangeline Lily no seu desktop, foi procurar fotos da sua outra musa Jennifer Connelly, acabou que ele me passou esse site, que tem fotos de muitas atrizes, cantoras, e etc, em qualidade boa, e eu que sou apaixonada por fotografia, favoritei, e indico.

Outro site que eu descobri há um tempão atrás, e é ótimo, é o CelebUtopia, que é um forum, onde tem milhares de photoshoots, candids, scans magazine, stills e etc, tudo em qualidade excelente.  Eu, doente por séries, já baixei vários, e vivo trocando o desktop.

Most Americans have never experienced what it is like to have taken a powerful illegal drug, whether it be pills, heroin, marijuana, or cocaine amongst many others. The film, directed by Darren Aronofsky, allows those Americans to escape into a world of paranoia, confusion, pain, and sacrifice. The movie keeps the feeling going by the usage of color, the usage of cinematography, quick edits that can cause said confusion and jumpy behavior, even the music was, at times, painful to listen to, but it all tied in and created the films cleverness on the portrayal of what it was like to be drugged.

This films use of color was something I paid close attention to. At the beginning of the film the colors were bright, summer colors that actually went along with the season that was displayed at the beginning of the movie by a simple text. It was like the calm before the storm, all was fine. The quick introduction of characters also kept up the pace within the film. We see that the Goldfarb family, being quick entranced with the obvious dysfunction and the apparently problem with the son and the mother, portrayed by Jared Leto and Ellen Burstyn, especially when we witness the son, Harry, stealing his mother’s television in order to fund his “habit” or heroin for he and a friend.

The array of characters that have high hopes and ambitions are what we immediately see, thinking that they are all just on the wrong path as young adults. However, as the film progresses, we watch the habit begin to take control of their lives and see that the colors are changing from bright to dull blue tones to express the true sadness and bland lives that happen with such a problem.

The cinematography in this film was well done as it went hand in hand with the editing, which in most normal films has about six to seven hundred cuts whereas this film had well over 2,000 and anyone who watches this film will notice. The portrayal of getting high was very artistic and very interesting. Most drug films, like Trainspotting, there were certain visual and artistic elements to the usage of the drug, however this movie took it to a different level by showing very brief, almost subliminal, flashes of the syringe, the drug, the creation, the blood return, the drug flowing through the vein, to the eventual pupil dilating, followed by that satisfactory groan. It almost gives the viewer a rush of their own as well as the instant gratification the character’s had, although the viewer’s might not have been as orgasmic.

Still, the movie kept portraying that scene whether it was with cocaine or with heroin. The cinematography, despite having neat shots and awareness of what was going on in the scene, also helped us feel what some of them might have felt. Much like those who get headaches, certain actions, such as noise, can make you feel like your head is moving along with the sound wave. In this film when going through withdrawal we felt the sickness by moving and vibrating the movie reels, a scene in particular that being when Tyron, played by Marlon Wayans, who was incredible fortunately, was in jail and the screams of the inmates caused his head to feel like it was to explode. His face between the bars was in clear focus while the background and surroundings were being aggravated, vibrating, spiraling out of control. Many shots such as that were used especially when the mother unwittingly is dragged into the drug scene by trying to lose weight and became addicted to speed.

The music by Clint Mansell was so well done that it only furthered our discomfort with high pitches of music that ranged from slow to music you would hear in a game show, which is purposeful considering the mother began thinking she was in a game show with her favorite host!

The theme music, I loved, and it is the most popular music used in film trailers. I enjoyed the music as a whole immensely, which coincidentally is titled “Summer” and “Winter”. Having seen the film nad hearing the music it seemed to pain me to hear especially when used when someone was going through withdrawals, such as the scene of Harry’s infected, if not gangrenous arm. Ugh. The pain I still feel from that scene of him injecting himself through the horrible arm just furthers the desperation and the sadness we feel for these characters.

All in all, this film was great and very artistic and something you wouldn’t really see in films of our day, just art and independent films. I don’t think I have one bad thing to say about this movie, as weird as it might have been it was done wonderfully. I was very glad to see that Ellen Burstyn was nominated for an Academy Award for her role, despite her not winning it was an honor well deserved. However, I was sad to see that Jared Leto wasn’t nominated for anything, I thought he did a good job as did everyone else in this very different type of film.

CHRISTMAS CAME EARLY THIS YEAR ! all these jewel looks for fall have a taste of christmas party… listening to techno and Katy Perry, silver sequins and red shoes

I went to see 9 feeling a bit uneasy about it. I knew it would be good, but how good was the question. I guess as the theater drew closer, I just felt less and less easy about it. In all honesty though, it was a nice experience. The first thing that I noticed was how beautiful the movie was. I mean, this movie was GORGEOUS. It felt sort of like a dark Pixar movie, with the grey, Fallout 3 visuals and the attention to detail in the environment. There’s little things hidden around every corner in the background. It really is a great looking movie. But how about I give you my analysis of the real deal, the guts of the film. The stuff that really matters.

The story of 9 is definitely a nice story. It’s very easy to understand, and could be explained to a 7 year old. However, there’s a reason they say in the TV spots that 9, “isn’t your little brother’s animated film.” 9 is a dark story, and goes somewhere most post-apocolyptic films never dare to go: the actual death of humanity. Many post-apoc’ films have destroyed the planet, or a large portion of it, but never its inhabitants. There was always at least some sign of human life in existence. Even if it’s only one human, or all the humans are somewhere off-planet, there is humans. The first thing you might notice about 9 is that it has guts though and decides, “Hey, you like humanity? Haha! Well, sucks for you then, ’cause it’s gone.”

The story is this: The U.S. used a scientist to build them a special machine that could build other machines in its own image, quickly at that. It was meant to be used as a peacekeeper, but the government decided to change that by using the machines to conquer other countries. When the scientist disagreed and tried to stop the machine from building more of these robotic soldiers, the government captured him, and the creator machine became angry, turning it’s robots against the humans. The entire human race was wiped out, but just before the end, the scientist managed to make a machine with a power unlike any other, and gave nine ragdolls the spark of life. They were created to somehow, someway, protect the future of Earth.

I won’t say too much else (and if I was wrong about the U.S. being the ones, my bad, I kind of forgot that part), but I will say that the end was pretty anti-climactic. It really felt like the build-up toward the real good part movie, but because it was so short it just messed that part up. However, I think 9 was more about the journey than reaching the X that marked the spot.

The characters of 9 (named after the numbers 1 through 9) are kind of dull in all honesty. Well, it’s not that I didn’t like them, it’s just they had little to no time to develope. A few felt fake and bland, like 8. I never felt him as a character, just as a bully who had no buisness being in the film. However, I will see that what 9 lacked in characters (for me anyway) they made up for in action and even suspense. I was scared for the characters because in all honesty, I didn’t think anyone was safe. It felt like at any moment someone would be killed. I don’t want to spoil anything, but there were quite a few twists and turns in this movie.

The action in 9 was great. Although I think the theater I was in was playing the sound a bit low in volume. I think I’ve watched my TV at louder volumes than that movie. Ah well, the scenes themselves were great. 7, the female badass character in the film, did quite a few great tricks with her weapons, and fought some pretty nasty creatures and the devices the heroes used to fight the machines were very creative and cool. I also enjoyed the creatures themselves. The monsters the nine heroes fought were some pretty nasty creatures.

Overall, 9 was an enjoyable experience. Whether you enjoy it for its stunning visuals, its awesome action, or its simplistic story, it doesn’t matter. You will most likely enjoy it. And if you don’t, well that’s fine too. We’re all entitled to our own opinion, aren’t we?

Paul Bettany plays the scientist Charles Darwin in Jon Amiel’s Creation, which is based on the book, Annie’s Box, by Randal Keynes about the life of his great, great grandfather. Oscar winning actress Jennifer Connelly plays Darwin’s wife, Emma, and they star alongside Jeremy Northam, Toby Jones and Benedict Cumberbatch.

Described as part ghost story, part psychological thriller and part heart wrenching love story, Creation brings vividly to life history’s most eminent scientist as a deeply conservative man tortured by arguably the most important discovery in history – the theory of evolution – that will deal a body blow to religion and the Christian beliefs that his devout wife clings to for comfort after the death of their beloved 10 year-old daughter, Annie.

Told with flashbacks from the past – when Annie was still alive – to the present where Darwin delays releasing the findings of his meticulous research which will eventually be published as On The Origin of Species. The film is timely, of course, as this year marks the bicentenary of his birth and the 150^th anniversary of his most famous work.

Bettany, 38, was born in Harlesden near London and studied at The Drama Centre before starting his career with roles in television, including Killer Net, a Lynda La Plante thriller and Sharpe’s Waterloo.

His portrayal of a ruthless crook in Gangster No. 1 paved the way for a film career that has included A Knight’s Tale, A Beautiful Mind, Dogville, Master and Commander: The Far Side of the World, The Da Vinci Code, The Secret Life of Bees and The Young Victoria.

Were you nervous at all about working with Jennifer?

A: More in the build up to it because it was like ‘oh my god, we’ve said yes to this and we’re actually going to work together and what’s that going to be like?’ Because I can’t go home and slag off the leading actress to my wife – because she is the leading actress. (laughs).

So what was it like?

A: I’d probably lie anyway, but I don’t have to, and the truth is it was such an easy working relationship and she is a fantastic actress. I knew that before and I know it even more now. It was great, really great.

But didn’t your home life and working life begin to blur a little?

A: You know when you are shooting those sort of movies and you are doing 15 hours, six-day weeks and you get home and play with your kids and put them to bed. And on Sunday you want to spend your time with them. They are on set the whole time, so they are with us, but any spare time you want to devote to them. And, frankly, you are too tired to bring it home with you. You just get by. But actually if you need to talk about a scene you are doing together the next day you have the person you are doing it with right there, so that’s good. Jennifer is so fastidious that when I thought about the two of us making a film together, I thought ‘we’ll be up all night talking about it!’ (laughs). But the truth of it was that we were in rags – we would go home, put the kids to bed, eat and go to bed

Did you know much about Darwin before you started on this project?

A: I felt like I knew quite a bit about him actually but then when you are going to play a role like this it gives you the perfect opportunity to be entirely specific about one person in history.

There must be a lot of material out there…

A: Absolutely – there is so much. He himself was so prolific with like a book a year. I now can’t separate to what I knew and what I learnt. I will say that it was an exercise in complete frustration because the amount that he wrote and the amount that has subsequently been written about him, you were always looking at a pillar of unread books.

But what did you take from the research that you could actually use in the performance?

A: You are always looking for the thing that conflicts inside the person and there’s a lot of things that like – the conflict in his marriage, the loss of a child, his wife’s religious beliefs and the fact that he is in the process of killing God.

What conclusions did you draw about him?

A: I think he was a social conservative with a revolutionary idea and that’s painful. He moved at glacial speed anyway and we know that he wasn’t the greatest student but what he could do was look at something fresh and I don’t think he had a snobbery about where the information came from – so whether he was talking to a farmer or whether he was talking to a professor, it didn’t matter it was all about the information. He was rigorous and he moved slowly and I think these ideas came to him. He read a book on economics and he sort of took the formula and saw it in nature everywhere and suddenly couldn’t stop seeing it. And what he discovered, with meticulous research, meant that he couldn’t deny the fact that gradual changes over time happen if you want to survive in your environment.

Survival of the fittest…

A: Survival of the fittest has actually become a bit of a problem whereas it’s more the survival of the most apt and survival of the most keen to adapt, really. And he just couldn’t stop seeing it and I think that made him ill. So that’s even before you get into the whole thing about his wife’s religion and knowing that his discoveries were going to be like a bomb going off. He knew of course that his wife took great solace in her religion after the death of their children. In the film we focus on the loss of one child but in fact they lost three.

You clearly built up quite a picture of the man. Did you like him?

A: Yes. I haven’t found a bad word said about him apart from on the Internet now.  People that knew him say he was a decent man and a great father. I once heard it levelled that he sort of would study his children like experiments, but when you think that science was such a huge love in his life then it becomes an act of the utmost love to do that.

How important is it that the film is based on Randal Keynes’ book?

A: Very important. I got the script and I thought it was beautiful – its one of the best scripts I’ve ever read. It’s John Collee who wrote Master and Commander and he’s the bollocks. And Randal Keynes is all things Darwin – he is his great, great grandson, which was important because you have that seal of approval right from the beginning and that’s crucial because you are dealing with that biographical stuff. But moreover it worked as a script and as a story even if you took out the fact that it’s Darwin. This is a story about a marriage in crisis and the loss of a child. It’s compelling enough even if it wasn’t about Darwin.

The film shows that Darwin took a long time to publish The Origin of the Species. Why do you think that was?

A: There were a lot of contributing factors – his wife, his fear of social disorder, of being ostracised by this world that really embraced him. It embraced him prior to this just because of his writings on the Beagle (his findings from a five year voyage on HMS Beagle established his reputation). He came back and he was a bit of a star in that scientific community immediately. So I think there were a lot of factors that stopped him. He writes about it himself. He quite clinically thought ‘why did I come up with this idea? How did this come to me?’ And he put it down to the fact that he was incredibly observant – he has this over developed muscle for observation without putting any pre-determined ideas on it. He would talk to a guy who was a pigeon fancier in the pub exactly the same way he would talk to a professor at Oxford University and everything he heard had the same weight, whether the syntax was right or not, it was all information for him. Also, he was clearly incredibly thorough and that’s also part of why it took 20 years.

The film is very much a love story, too, isn’t it?

A: Oh my God, he loved her. She had ten children and in their marriage there was not a time she wasn’t pregnant, they did not stop having children. She had her last child at 49 and in that era it’s extraordinary. They were so in love with each other. It doesn’t come into our film but they used to play backgammon every day and he kept a running total of who was winning – they just entirely adored each other but had had this incredibly alienating experience at a time when she was being drawn into religion and he was being pulled apart.

You live in the States now. Have you settled to life over there?

A: You know, work wise it doesn’t really matter were we live. I’m in a lucky position that it just doesn’t matter for me anymore. But we are there for the family. Jennifer has lots of relatives there and I love it in New York and we also have a place in the country, which is fantastic. It took me three years to realise ‘**** I’m not going home! I’d better get some American mates..’ And I’ve got some American mates now but I keep in touch with all my mates back in London and they come out and see me, too, which is great. But yes, I love it there. Maybe we’ll come back to Europe at one point in the future but not for a few years while the kids are going through schools.

Creation is in cinemas 25th September

Yeah, so I usually don’t do this kind of thing, but I’m bored and I have like forty minutes to kill before the pool at my school opens up and I can go there and get my workout in because I’m injured and can’t run. It fucking blows. Anyway, I always submit my weekend box office predictions to Box Office Mojo for their weekly derby thing to see how well I can predict how movies will do. As of now, my all time rank is 41 of 550 people. I usually get about 80% accuracy per weekend, which isn’t half bad. Some films are obviously much harder to predict than others. So, anyway, these are my predictions for how movies will do this weekend. Let’s see how accurate I can be.

 1. Tyler Perry’s I Can Do Bad All By Myself.

 I’m predicting this to open at number one because these Tyler Perry movies have a built audience that comes out to see every single one of his movies. When his first film, Diary of a Mad Black Woman, opened to number one back in 2005, I was more shocked than I had ever been by a box office result. I had never heard of the film. Not once. I had absolutely no clue what it was. That has never happened before or since. It’s unheard of. But, yeah, I hate Tyler Perry and I don’t think he or his TV show or these movies are funny at all. Not to be racist or anything, but I really think it’s because I’m not black. I just don’t get the humor. And it annoys me when I see these movies do well. Anyway, I’m calling for this to open to about 23 million, which is right in line with his usual fare, though I wouldn’t be surprised to see this breakout and open to 30 million or even more.

2. 9

 A lot of people on the forums at Box Office Mojo are predicting pretty low numbers for 9. However, I occasionally have to be optimistic about things and I really hope that this film does well. I thought that the trailer was amazing and I really expect good things from it, but, yeah, it’s kind of a tough sell. Even though he’s not really all that involved with it, I think it’s a smart move to heavily advertise Tim Burton’s name. He has quite a nice little fanbase. 9 is opening on a Wednesday, which will absorb some of the business it could potentially do over the weekend proper, but I’m still hoping this could do well. So, I’m guessing about 17 million for 9, which is being kind of generous, but I really do want to see this do well. I’m not being very objective about this, but oh well.

3. Sorority Row. I’m going to say about seven million for this. September is traditionally one of the worst months in terms of box office and studios often dump the not good enough for the summer shit in this month. Sorority Row is a perfect example. Seven million sounds good to me.

4. Whiteout: about 6.5 to 7 million. See above.

5. Inglourious Basterds: I’m going to say about 6.5 million. Movies tend to suffer bigger drops after holiday weekends. But Basterds has been pretty well received, so I don’t think it should fall too hard. I could be wrong, though.

6. The facts that it’s coming off a holiday weekend and it’s a horror movie make me feel like The Final Destination is going to fall apart. So, I’m going with 4.6 million.

7. All About Steve hasn’t been well received at all, so I feel like it’s gonna get hit hard. Let’s go with about 4.5 million.

8. District 9 has been holding pretty decently and I don’t the holiday will affect it to much at this point, so I’ll go with 3.9 million this weekend. It’s already over 100 million and has exceeded expectations by a longshot, so I’m quite happy for it.

9. Julie and Julia: 3.7 million sounds good to me.

10. I think Gamer is going to get destroyed this weekend. I could honestly see it falling over 70% this weekend, which is massive and all, but it wouldn’t surprise me. The average prediction at BOM was about 4.6 million this weekend, but I thought that was way too conservative. There is no way this will fall under 50%. So, I’m going with a gargantuan decline all the way down to 2.7 million. I must say, though, that I’m somewhat surprised by its respectable 6.5 at IMDB. But, whatever, those are my predictions. Adios, everyone. We’ll see how I did with all this on Sunday or Monday or Tuesday or whenever the fuck I get around to it. Until we meet again.

Estava assistindo a este vídeo engraçadíssimo do Paulo Francis, aí comecei a lembrar de meus próprios neurastenismos. Das coisas que não gosto e que me irritam. Segue, abaixo, algumas das que me lembro agora:

Odeio quem não gosta de bicho!

Eu não gosto de comida japonesa!

Não suporto marcar nada com antecedência!

Não aguento gente que fala “entende?” no final de cada frase!

Não suporto jornalistas que, em entrevistas, falam: “como que é” estar estreando uma peça de fulano?”, por exemplo! Cadê o português básico? Esse “que” não existe; o carto é “como “é”, e esse gerúndio odioso? A frase sensata seria: “como é a experiência de estrear uma peça de fulano?” Ou a “sensação” de estrear a peça de fulano..”

Não aguento a voz da Xuxa e a do Faustão!!

Odeio churrasco e pagode!
Praia nos fins de semana!

Não suporto a cara transformada em sorrisos debilóides dos âncoras de telejornais quando o assunto é “comunidade carente” “samba” e “futebol”!

Não gosto do vocalista do OASIS, com aquela cara de roqueiro entediado. Mas ADORO rock!!!

Comercial de carro na TV: “não compre carro amanhã! Espere até quarta, a grande promoção das concessionárias Chevrolet mais perto de você!!” Ou mesmo quando dizem: “não perca! É só amanhã! Fiat Palio zero Km, com ar e freios abs, só: R$24.000,00 nas concessionárias Fiat” – parece que estão vendendo batatas – como se o brasileiro tivesse poder aquisitivo pra resolver comprar o tal carro só porque está apenas por 24.000,00 no dia seguinte!

Acho a Jennifer Connely muito chata, enjoada pra falar a verdade. Mas também não gosto da Penélope Cruz e detesto o Ben Affleck.

Detesto também essas séries novas americanas “Desperate Housewives”, “heroes” “Lost” entre muitas outras! Tenho uma má-vontade horrorosa em aceitá-las.

Não suporto gente que fala palavras que estão “na moda” como: “releitura” “repaginado” “revisitado”, etc! Que coisa mais escrota este eufemismo cínico! Por que não se fala mais “baseado em”, “inspirado em”, ou mesmo, “roubado de”?!! Agora começaram com o tal do “orgânico!”; que serve literalmente pra tudo que é supostamente bom, desde a comida saudável, até a decoração de um apartamento, ou a interpretação de um ator numa peça de teatro!!

Gente que te responde uma pergunta com um “veja bem” A criatura só pode estar ganhando tempo pra mentir uma resposta!

Não suporto os programas “Fantástico” e “Domingão do Faustão”!

Ahh, mas é atroz o cinismo do PT!!!

Não suporto dormir na casa dos outros!!

Não gosto que me cutuquem na rua!

Alguns “artistas” que insistem em se enquadrar no que eles chamam ”arte moderna”, contemporânea, com aquelas aberrações chamadas “obras” que o cara-de-pau faz pra ver se engana os trouxas, do tipo: um abajur em cima de uma velha máquina de escrever quebrada e pintada de pink…sabe como? (Normalmente expostas no MoMA;  aí então adquirem um valor extraordinário!)  Mas que não são nada, além de cabotinismo!!

Não tolero o Rubinho Barrrichello! Só sabe fazer intrigas, ganhar que é bom…

Não aguento dupla sertaneja!!! Por que aquela voz de castrati, insuportável??

Odeio os atentendetes de telemarketing de qualquer serviço, tais como Net, Oi, Tim e outros!! “estaremos transferindo sua ligação” aí cái, de propósito, e a gente têm que fazer tudo de novo, ligar, falar com um robô, dizer até a data do batismo, pra ser tranferido para outro imbecil que vai desligar na sua cara do mesmo jeito, seja lá quantas vezes você ligue!!!

Não aguento a “linguagem” dos fashionistas: “resolvemos descontruir” a imagem de…” ou “a gente resolveu “brincar” com essa coisa de cores e texturas” Alguém brinca com roupas??? O que eles resolveram, foi “experimentar” novas cores e texturas!! “A proposta foi de “reinventar” em cima da moda dos anos 70″ Não se “reinventa” nada porque uma coisa já inventada, Existe. Não têm volta. O máximo que poderiam fazer seria “adaptar”, aprimorar, acrescentar, à uma inveção!!

Ah…tem mais…muito mais! É que não dá pra lembrar de tudo de uma vez. Mas vou acrescentando à medida que me lembrar

Eu sei que sou neurastênica mesmo!! Não foi à toa que coloquei esse vídeo do Paulo Francis aí em cima!

Só dizendo mesmo: Puta que pariu!!!

E as campanhas de moda internacionais para a temporada de outono-inverno 2009 continuam seguindo a linha da “estética surrealista”, conforme já foi tratado aqui anteriormente. Mais recentemente, foram anunciadas as campanhas da Lanvin e da Balenciaga, as quais seguem essa tendência da atual publicidade de moda.

Para a Lanvin, a top Kirsten McMenamy (que apareceu na capa e no editorial “The Legend” da Vogue Italia – junho/09) aparece largada sobre um sofá branco e com fisionomia de quem está assustada, em um mix de suspense e terror. Ao seu lado estão dois gatos pretos (certamente para reforçar mais ainda o clima, através da imagem supersticiosa que paira sobre esses felinos). Já na campanha da Balenciaga, a estrela é Jennifer Connely que, apesar de aparentar estar calma e de reforçar um clima mais sexy, fotografou em uma pose praticamente igual a de Kirsten.

As fotos destas duas campanhas são assinadas por Steven Meisel, o qual parece estar com uma certa fixação em sofás na hora de compor o cenário para os seus clics. Curiosamente, esses móveis aparecem também nas imagens das campanhas de Alberta Ferretti e Louis Vuitton, ambas clicadas por Meisel.

Por Ícaro

O bom dos curta metragens é que por ter de apresentar as ideias em tempo reduzido essas ficam apresentadas de forma legível, enquanto a maioria dos longa metragens se utiliza de grande tempo para expressar suas ideias, os curtas fazem com que trabalhemos o conteúdo, e  não só que seja jogado ao espectador. Dando umas voltas pela internet e com ajuda de amigos (obrigado pela dica, Klaus e Saoki!), eis que conheci “9″. Como o título deste tópico menciona, este curta possuiu uma ideia simples a primeira vista mas se torna fantástico ao terminá-lo de assistí-lo. Criado por Shane Acker, “9″ foi indicado ao Oscar em 2005.

Este ano, o diretor Tim Burton leva “9″ aos cinemas como um longa metragem com roteiro do próprio criador Shane Acker. Na dublagem, atores como o ex-hobbit Elijah Wood que faz a voz do boneco protagonista e Jennifer Connely como o boneco 7. Abaixo segue o link do YouTube para o curta que deu origem ao filme, assistam, vale muito a pena mesmo!

Tenho fé que ele nos apresentará um bom filme. Bah! Gosto bastante do Tim Burton, então espero realmente muito que ele faça um bom trabalho e que a essência do curta não se perda.

Deêm uma olhada no site de Shane Acker, muito legal também. http://shaneacker.com/

Sinopse:

Uma visão frenética, perturbada e única sobre pessoas que vivem em desespero e ao mesmo tempo cheio de sonhos. Harry Goldfarb (Jared Leto) e Marion Silver (Jennifer Connelly) formam um casal apaixonado, que tem como sonho montar um pequeno negócio e viverem felizes para sempre. Porém, ambos são viciados em heroína, o que faz com que Harry penhore a televisão de sua mãe (Ellen Burstyn), para conseguir dinheiro. Já Sara, mãe de Harry, é viciada em assistir programas de TV. Até que um dia recebe um convite para participar do seu show favorito, o “Tappy Tibbons Show”, que é transmitido para todo o país. Para poder vestir seu vestido predileto, Sara começa a tomar pílulas de emagrecimento, receitadas por seu médico. Só que, aos poucos, Sara começa a tomar cada vez mais pílulas até se tornar uma viciada neste medicamento.

Avaliação:
Felipe 9
Junior 9
Marcel 8
Matheus 10

Elenco:

Ellen Burstyn (Sara Goldfarb)
Jared Leto (Harry Goldfarb)
Jennifer Connelly (Marion Silver)
Marlon Wayans (Tyrone C. Love)
Chrisopher McDonald (Tappy Tibons)
Louise Lasser (Ada)
Keith David (Little John)
Sean Gullette (Arnold)

Título Original: Requiem for a Dream
Gênero: Drama
Tempo de Duração: 102 minutos
Ano de Lançamento (EUA): 2000
Site Oficial: www.requiemforadream.com
Estúdio: Artisan Entertainment / Industry Entertainment
Distribuição: Artisan Entertainment / Summit Entertainment
Direção: Darren Aronofsky
Roteiro: Darren Aronofsky, baseado em livro de Hubert Selby Jr.
Produção: Eric Watson e Palmer West
Música: Clint Mansell
Direção de Fotografia: Matthew Libatique
Desenho de Produção: James Chinlund
Direção de Arte: Judy Rhee
Figurino: Laura Jean Shannon
Edição: Jay Rabinowitz
Efeitos Especiais: Amoeba Proteus

Se o objetivo de Darren Aronofsky ao produzir o filme Réquiem para um Sonho foi perturbar, ele conseguiu o que queria. O tema “drogas” pode parecer clichê, mas o estilo desse filme passou longe disso.

Já considerado um cult, Réquiem retrata os diferentes tipos de vícios dos personagens, de televisão e café à heroína e sexo. As repetidas seqüências de cortes traduzem a intensidade desses vícios, por isso, o filme tem mais de dois mil cortes, enquanto filmes de cem minutos, em média, têm entre seiscentos e setecentos.

Não é um filme para qualquer espectador, é forte, intenso, nervoso, frustrante, principalmente os momentos finais, onde nos deparamos com a destruição de todos os sonhos. O filme termina e um chiado continua ecoando na cabeça.

A trilha sonora de Clint Mansell usa uma mesma melodia durante toda a trama, enquanto Ellen Burstyn e Jennifer Connely dão uma aula de atuação.

O uso da “tela dividida” traz momentos inexplicáveis à quem vê, duas visões, dois pontos de vista são oferecidos; uma técnica muito irônica, já que Réquiem para um Sonho divide opiniões, um típico filme o qual você ama ou odeia.

Download arquivo torrent via 4shared

Download da Trilha Sonora

Assumi total meu lado “old lady”. Estudo com colegas 10 anos mais novos, escrevi num blog com um rapaz que tem quase a metade da minha idade, tenho preguiça de sair e, quando saio, meia noite já quero voltar pra casa.

Loser total, alguns diriam. Eu, ao contrário, acho ótimo. Claro que eu tenho umas recaídas e compro florzinhas pra colocar no cabelo, bolsas fofinhas e sapatinhos com lacinho. E falo no diminutivozinho. 

Mas ser véia (ok, eu sei que está indo contra o novo acordo ortográfico, mas já é demais pedir que eu escreva sem esse acento profissionalmente, né?) tem suas vantagens. Afinal, vivi na década de 1980. Podem dizer que foi a “década perdida”, ou que sombra azul não é algo a ser usado. Ou que ombreiras NÃO deixam mulheres mais bonitas. Que mullets não são exatamente um corte de cabelo; ou ainda que telefones de disco são pouco práticos. 

Não importa. Fui bem feliz na década de 1980. Usei mullets. Minha mãe usou sombra azul e ombreiras. E, o melhor: grande parte do que hoje se acha cool (eu não estou falando da Trash 80’s, tampouco da Ploc) veio justamente desta década que alguns julgam perdida. 

Nasci em 1979 e minhas diletas colegas que nunca escrevem este blog nasceram em 1980. Então, total nos identificamos com tudo o que foi descrito acima. Por isso, eis aqui uma seção deste blog que pretendo fazer toda sexta feira: All the old ladies, onde pretendo falar das velharias que gostamos – e muito.

Começando com Dona Cyndi Lauper e sua ótima I drove all night. 

I drove all night foi originalmente lançada em 1987 por Roy Orbinson, um “belo” e importante cantor americano já falecido. Jason Priestley, o Brandon da primeira versão de 90210 (pra mim, será Barrados no Baile pra sempre!), e Jennifer Connely, a belíssima atriz de Réquiem para um sonho e em cartaz atualmente com Ele não está tão a fim de você, estrelam o clipe. À época, os dois eram apenas rostinhos bonitos. Barrados só foi produzido na década de 1990 e Connely ainda engatinhava na carreira de atriz.

Já no clipe de Cyndi Lauper, vemos a cantora nua e com algumas imagens sendo projetadas no corpo dela. Há quase vinte anos, as cenas chocaram algumas pessoas pela nudez e por insinuar sexo (???). Hoje, chocariam pelas gordurinhas aparentes da cantora.

Com 25 anos de carreira e mais de 60 milhões de álbuns vendidos, a cantora fez shows no Brasil em 2008. Eu não fui, mas confesso que AMO dirigir ouvindo I drove all night, me emociono com True Colors (podem rir) e danço sozinha com Girls Just Wanna Have Fun. 

Nádia Lapa, que acaba de se arrepender de não ter ido ao show

Pendant la dernière semaine du classe, nous avons vu la film “Blood Diamond”. C’est un très bon film qui presente la situation en Sierra Leone à la fin du vingtième siecle. Dans ces temps, il y a un guerre civile entre les rebelles et la gouvernement. Des rebelles vendent les diamants pour financer leur guerre. Les rebelles enlevent des hommes, dans le meme facon qu’ils utilisent pour enlever des enfants (pour deviennent des enfants soldats), et forcent de miner les diamants. Avec la monnaie qu’ils recoivent pour vendre des diamants, les rebelles achètent des armes, et pour utilisent les armes ils enlèvent des enfants. C’est un système épouvantable. Donc, les diamants du ces regions en conflit s’appelent des diamants de la guerre.

Aujourd’hui les vendeurs du diamants utilisent le Système de Certification du Processus de Kimberley. Ce système interdit vendre des diamants du conflit et ce marche. Dans les 1990’s, quatre pourcentage de diamants du vendeurs sont des diamants de la guerre. Aujourd’hui c’est au moins d’un pourcentage. La seule pays qui font du traffic des diamants de la guerre maintenant est la Cote D’Ivoire. L’Angola, la Sierra Leone, la République Democratique du Congo, la Congo Brazzaville, et la Liberia sont en paix, et utilisent le Système de Certification du Processus de Kimberley.

Depois de Madonna confirmar sua volta ao posto de garota propaganda da Louis Vuitton, para a campanha de inverno de 2010. Vêm por aí mais um repetéco, sendo que dessa vez, a bola da vez é Jennifer Connely para a Balenciaga.
A atriz vai continuar como o rosto da grife e, segundo o site da Vogue inglesa, foi Nicolas Ghesquière que fez questão de tê-la como garota-propaganda da marca novamente.
Isso confirma uma tendência cada vez mais forte, onde estilistas acabam por dar preferência por rostos conhecidos, no lugar de dar oportunidade para modelos em ascenção.
Seria uma estratégia para driblar os efeitos da crise e influenciar o consumo?!
Vai saber, né…

Não teve pra ninguém. Angelina Jolie ganhou disparada o posto de Mulher Mais Bonita do Mundo na eleição anual da “Vanity Fair”, com 58% dos votos, seguida por Gisele Bündchen, em segundo lugar, com 9% da preferência.

A medalha de bronze ficou com a atriz Halle Berry, enquanto as atrizes Jennifer Connelly, Penélope Cruz e Scarlett Johansson, a modelo israelense Bar Refaeli e a rainha Rania al-Abdullah, da Jordânia, empataram na quarta posição.

O quinto lugar, além de seguir com um empate entre veterenas da beleza, teve uma nova musa, a atriz Freida Pinto, eleita junto com Catherine Deneuve, Natalia Vodianova, Ziyi Zhang, Beyonce e Cate Blanchet. 14.04.2009 (LA)

A N°1 ANGELINA JOLIE

Gisele Bündchen, na segunda posição, com 9% dos votos

Halle Berry ficou com o terceiro lugar

O quarto lugar ficou entre poderosas como Scarlett Johansson

e a rainha Rania al-Abdullah

Enquanto Freida Pinto foi a surpresa da quinta colocação

Fonte

Este primeiro trimestre de 2009 não foi generoso para os espectadores que gostam de comédias românticas, mas eis que chegou no final de março uma boa exceção. Mas não esperem apenas uma história de amor: “Ele não está tão a fim de você” é um surpreendente filme sobre relacionamentos.

Quatro histórias se entrelaçam, duas se destacam. A bela e instável personagem de Scarlett Johansson seduz o belo e até então fiel Bradley Cooper, casado com uma Jennifer Connely cheia de desconfianças e insegurança. Melhor ainda é a trama que traz Ginnifer Goodwin, ainda pouco conhecida no Brasil, que não sabe ainda reconhecer os tais “sinais que os homens dão quando não estão tão a fim de você”, com ótima participação de Justin Long e Kevin Connolly. No meio do caminho fica a história de Jennifer Anniston, que se destaca em ótima performance como a companheira (de Ben Affleck) que se ressente de não ter se casado ‘de papel passado’ apesar de muitos anos de relacionamento.

Embora a mais “moderna”, com a qual muitos que lidam com as novas tecnologias irão se identificar, a história de Drew Barrymore é a mais fraca, dando até ao espectador a impressão de ter sido inserida posteriormente na trama sem tanta necessidade. A personagem de Drew sofre com as constantes decepções dos relacionamentos que começam no mundo virtual: emails, MySpace e até torpedos são sua grande fonte de expectativa e desilusão.

Com boa trilha sonora, o filme é leve sem ser tolo: diverte e faz pensar, e certamente deve fazer boa bilheteria nesta estreia no Brasil.