Der Hunger nach Liebe.
Der Hunger nach Macht.
Der Hunger nach Geld.
Der Hunger nach Gewalt.
Der Hunger nach Sex.

Eine Serie über gruselige und unerklärliche Begebenheiten mit einem erotischem Touch. Jede Folge handelt von bizarren Ereignissen – und der Leidenschaft und Hingabe der Protagonisten.

Regisseure bzw. Produzenten dieser Serie sind Ridley und Tony Scott.
Als Host (Erzähler) fungieren Terence Stamp und David Bowie.

1. Staffel
01. Schwerter
02. Ménage à Trois
03. Bis in alle Ewigkeit
04. Delikatessen
05. Die Hochzeitssuite
06. Zimmer 17
07. Anais
08. Rollenspiele
09. Die Stimme
10. Im Fokus
11. Des Teufels Kleider
12. Familienangelegenheiten
13. Verführung mit Biss
14. Mächte der Nacht
15. Verlorene Seelen
16. Fluss der Träume
17. Der Leuchtturm
18. Die schöne Helene
19. Die Tramperin
20. In flagranti
21. Der Priester
22. Haute Cuisine

2. Staffel
23. Die Zuflucht
24. Unter die Haut
25. Hüter ihrer Träume
26. Tödliche Augen
27. Prinzessin Draculus
28. Die 7-Tage-Frau
29. Mörderische Saat
30. Die Tagebuch-Schreiberin
31. Visionen
32. Der Geist des Adlers
33. Das Messingbett
34. Ausgeburt des Bösen
35. Das rote Kleid
36. Der Zorn Gottes
37. Der Flaschengeist
38. Der Liebestrunk
39. Feuer des Guten
40. Desdemona
41. Die Verführerin
42. Doppelte Identität
43. Die Muse
44. Gefährlicher Sog

Zombie Prom Nite...

ya kalau anda mengharapkan tontonan berkualitas layaknya film film ridley scott atau sineas lain, ya sebaiknya jangan dulu menonton ini, tapi kalo anda butuh hiburan yang bisa membuat tersenyum dikit atau bahkan ketawa ngakak ya tonton saja ini. layaknya film indie, memakai aktor aktor muda yang jujur saja menurut saya kualitas akting mereka tuh bisa dibilang jauh dari aktor aktor muda indonesia, entah mengapa bukan saya tidak percaya pada kemampuan sineas atau aktor indonesia, hanya saja susah diungkapkan melihat akting mereka, tapi bukan berarti semuanya loh, saya tidak mengeneralisir ya, ada beberapa lah.

tapi kembali ke topik utama, dance of the dead, bercerita tentang sebuah kota kecil yang diinvasi oleh para zombie, dan hari penginvasian itu terjadi ketika malam prom nite di SMA sekolah itu, banyak karakter konyol dan lucu, tapi cerita utama tetap dipegang oleh 2 karakter utama yaitu jim dan linsdey, yeah dan mereka pun berjuang bersama teman temannya untuk membunuh semua zombie yang ada di pesta prom mereka.

untuk spesial effect sudah terbilang lumayan kalau kelasnya adalah film indie loh, bahkan lebih baik dari film film sinetron tidak jelas di beberapa channel TV swasta kita, yah soal teknologi kita memang terlambat, tapi bisa kan dipercepat perkembangannya? overall, film ini lumayan menghibur saya di hari yang penat karena skripsi, hehehe, enjoy!

Editor’s Note: This is part III in a series  of posts on The Exorcist and Rosemary’s Baby.  For part I of the series, scroll down or click here.  For part II, scroll down or click here.  As mentioned before the first post: I reveal many plot points from these films, so please watch them before reading.

In my previous posts on Rosemary’s Baby and The Exorcist, I touched upon some of the ways in which these films exploit the uncanny feelings we experience in relation to our own bodies, as well as how these films may have a comment on the ways in which contemporary power structures terrorize and appropriate the female body.   In this continuation of the larger discussion on Rosemary’s Baby and The Exorcist, I am interested in investigating how these films might also be mining some horror from the inherently uncomfortable disconnect we all have between our minds and our bodies.

In support of this notion, I will posit that the eeriest things in life are not often the things prowling around outside your home at night, nor are they the things coming down from outer space to apprehend unsuspecting sleepers, and certainly they are not pitchfork-wielding goblins reveling in a fiery orgy of sin below the earth.  On the contrary, the eeriest things in life often originate within the confines of our own skulls.  Throughout our history, we humans have made a habit of projecting the weird things going on in our own psyches outwardly, thereby attributing anomalous or unsavory behavior or phenomena to demons, witches and the like.  For instance, Mary Beth Norton makes a compelling argument in her 2002 book In the Devil’s Snare, that the Salem Witch Trials toward the end of the 17^th Century can be largely attributed to the anxieties and other psychological ramifications of frontier life, and specifically the fear of Native American attacks on European settlements.  The dark-skinned men lurking in the unfamiliar forests, along with the constant bloodshed that was inherent to that time and place, created a fear that was coupled with an already-present collective belief in witches, demons and unknown evils lurking in the shadows.  While these settlers did have actual danger prowling outside their homes, they were not aware that the reach of Native American influence reached through the walls of their homes into their minds, leading to irrational behavior and decision-making.  Those weren’t demons in the woods, those were people tired of being slaughtered and otherwise molested by strangely-dressed white people.

The point is that our own minds are the source of our greatest terrors.  And historically, as with the Salem Witch Trials example above, it has been  much easier to explain away the most uncomfortable or undesirable aspects of our lives with a little bit of supernatural belief and magical thinking.  The most powerful of these supernatural belief systems are the monotheistic religions which, although they are very much thriving to this day, are much more difficult to accept absolutely than they were, say, 500 years ago.  Magical thinking was a pat way to explain away events and circumstances that otherwise were baffling or anxiety-provoking.  With scientific knowledge skyrocketing in the latter half of the 19^th Century and through the 20^th Century, it became much more difficult to blame everything on witches, angels, demons and god(s).  In this vein, both Rosemary’s Baby and The Exorcist share a subtheme of religious faith and the loss thereof.  Father Karras, the central priest character in The Exorcist (although not the “Exorcist” referred to in the title), is wrestling with his own loss of faith.  Father Karras resides in a slummy area of Washington DC, with poverty and squalor constituting his day-to-day world and, along with this, he shares his small apartment with this ailing mother, who eventually is forced to move into a mental institution brimming with the psychologically anomalous.  Karras finds it difficult to rectify these realities with his Catholic beliefs and the demon possessing Regan exploits this fact.  In Rosemary’s Baby, one scene has the camera conspicuously linger on the April 8^th, 1966 cover of Time magazine.  The cover simply features the question “Is God Dead?” in bold red letters over a black background.  This was an actual cover of Time that was attached to an article that stated that the age of religion was essentially out the door.  Rosemary herself, when asked by Roman if she is religious, states, “I was brought up Catholic, but now I don’t know”.

Both films take as their setting a 20^th Century backdrop that is turning more toward medical, scientific and psychological knowledge to assist with problems of the body and mind instead of relying upon supernatural paradigms.  Until recent modern history, many of us have told ourselves stories about the ethereal soul and its dominion over the base, corrupted body.  The soul is said to be made of otherworldly material that is unfortunately tainted by the fleshy, gooey spaceship that it must possess in order to traverse through our inherently dirty world.  If one begins to accept the idea that we – every part of us – are of this world and then supplants the soul idea with this way of thinking, then the means by which one thinks of oneself and the world becomes dramatically altered.  This paradigmatic shift would be seismically uncomfortable, and it is my contention that Rosemary’s Baby and The Exorcist place themselves firmly in the fault line created from just such a shift.

In his wonderfully entertaining 2007 film The Pervert’s Guide to the Cinema, Slavoj Zizek shares some of his thoughts on modern cinema from a philosophical perspective that is rooted in the ideas of famed French psychoanalytic thinker Jacques Lacan.  In his film, Zizek pontificates on Ridley Scott’s Alien and claims that this film derives its power, particularly regarding the iconic scene in which an alien baby hatches from the stomach of its human host, from the idea that humans are essentially alien intelligences with a human body as a host.  We humans are uncomfortable in our own skins because of a fundamental disconnect; we tolerate our bodies, but we must also misrecognize our bodies as something different from ourselves in order to get by.  This disconnect is much easier to handle when one has, for instance, the Christian notion of the soul which advises comfortingly that there is no need to worry, that it’s right to fear your body, and that it’s really okay that you will die someday, for everything will be taken care of because your personality is actually not of this world to begin with.  For psychoanalysis as well as for Christianity, we are essentially ghosts inside a machine, or aliens inside of spaceships.  Christianity tells us that our alien souls will someday rejoin the Mothership (Fathership?)  in the sky, whereas psychoanalysis offers no such happy ending.  For psychoanalysis, life is weird and then you die.

Rosemary’s Baby and The Exorcist generate some wonderful creepiness by interjecting antiquated notions of Soul/Body and Good/Evil into a modern, scientifically-advanced setting.  One can have every priest and psychologist on call, but life will never cease to be strange.  It’s unfortunate that this basic concept is lost on many contemporary horror filmmakers.  These filmmakers spend too much time on computer graphics and convoluted story lines and not enough time looking into the mirror and contemplating the stranger staring back.

Note: I’m thinking there’s one more post on these two films on the way.  I’m thinking the next post will be about domestic spaces and antagonistic furniture in Rosemary’s Baby and The Exorcist.

One of my favorite films of the new millennium, Kingdom of Heaven is an under-appreciated classic, a treasure of a film that was shunned in many circles at the time of its release because of its incongruity and certain character flaws. It faded quickly into the realms of the forgotten, but I always held a flame aloft for the historical epic. I admitted to most of the flaws, albeit begrudgingly, but I still had a weird attraction to it, and until about a year ago, I couldn’t really explain it. Now, before about a year ago, I would have bowed to conventional wisdom that if I could not put my pro-KoH argument in words, than it obviously was not that good of an argument. But, last April or so, I discovered the reason that the movie seemed so off to me, and the source of a lot of anti-KoH arguments, is that the studio edited almost an HOUR out of the theatrical cut! AN HOUR! That’s a lot of info to leave out! Now, with a lot more backing this time compared to March of last year, I can safely say that Kingdom of Heaven IS a good movie, a great movie even. It’s not a perfect movie, but it skirts very flirtatiously with immortality, something I admire in a work of art.

We’re taken to the 12th century, between the Second and Third Crusades. Balian, a lonely blacksmith in France, grieving over the suicide of his wife, finds no solace in his work or his life doomed to obscurity. As fate would have it, however, a knight traveling through the area pops into his life. He claims to be his father, and offers him a choice; he can stay in the sad, empty husk of France during the Middle Ages and continue his life as if nothing had happened, or he can come with him to Jerusalem, where the knight holds court with King Baldwin IV. At first hesitant, Balian joins the group of Crusaders after hearing that perhaps his wife’s soul can be saved from Hell if he absolves her sins in the Holy Land (people believed that suicides were instant fodder for Hell back then, although some STILL do). Thus begins a journey of the self through the world of the Dark Ages as Balian travels from his tiny, myopic Medieval world all the way to the center of the world’s tumult, Jerusalem, where a new dispute is broiling beneath the surface of the Second Crusade’s short-lived peace. King Baldwin IV is dying painfully from his crippling leprosy, the Knights Templar are restlessly itching for a battle with the Muslims, their sworn enemy, and on the other side of the wall, a new Muslim assault is being only barely kept at bay by the efforts of their sultan, Saladin. The truce will not last much longer, and Balian’s part in this is larger than he yet knows. It will be a long, unforgiving road ahead for him, but with his wife’s eternal soul in the balance, he is willing to do anything to unchain her from the fiery pits below.

Let me start with the big flaw before I start gushing. Before it gets any farther, I have to comment on the fact that Balian is a total Harry Stu. In internet lingo, for those not in on the jive, that means that his character is just a LITTLE too perfect. He just happens to know a lot of things about a lot of things that would be helpful in the Holy Land, including the construction of siege engines, leading large groups of men, and considering he’s played by Orlando Bloom, professional heart-throb, he looks damn good while he does it. It all gets to be a little much sometimes, and by the end, I felt more than a little tinge of disgust for him and his implausible perfection. You know how awesome and perfect Balian is? During a boat trip to Jerusalem, his boat capsizes and sinks in a storm; he wakes up the next morning on the beach with no fellow survivors and a saddled horse ready to give him a lift! How serendipitous!

But when I say that that’s really the only thing I think is wrong with it, I mean it. Director Ridley Scott is so good he can make any subject come alive, and it just so happens that he also found one of my favorite historical periods fascinating. Every detail, with the exception of ultra-perfect Balian, is down to the T. Scott has recreated the Middle Ages with such a realism that they speak to us through the ages in the very subtext of his work. From the weaponry, the architecture, the interactions between people, to even the battle formations and times of day that Muslims and Christians fought during the 12th century, this is all genuine. there are so many stories to be told here, during the reconstruction of Europe from its massive, tragic downfall in the 6th century, I’m so glad someone used this period. And not only that, but I really appreciate the use of the different faiths fighting it out as sort of an allegory for today. It’s the same fight going on with different weapons and words, which Scott cleverly alludes to at one point, making the emotional ties to this ancient era all the more indelible.

The main cast is equally proportionate to the supporting cast here. Liam Neeson, Brendan Gleeson, Michael Sheen, David Thewlis, and other power players make short but memorable appearances that resonate throughout the movie. My favorite of these is Ghassan Massoud, who plays Saladin. While we never see hm that often, his character is similar to Baldwin in that he doesn’t want war, but political and religious pressures are pushing him into a battle that will cost many, many lives. He is excellent, and most importantly he’s a Muslim character that doesn’t give way into stereotypes that so many other films would have. As for the main cast, I’ve said my peace on Balian, but it must be noted that not everyone’s like that. There are some real winners, like Eva Green, who plays Sibylla, Baldwin’s sister. Her scenes suffer the most cutting, and it felt so vindicating to see the Special Director’s Cut edition and piece together what happens to her. She is a force to be reckoned with for me, especially now that the cut has been restored. She is given whole new sets of scenes that add to the emotional complexities, especially the ones involving her son. Without these scenes, her character is very confusing and inconsistent, and it is a definite boon to the film that she not go from one emotional state to the next without any coercing. Jeremy Irons electrifies as Tiberius, the Marshall of Jerusalem and Balian’s moral compass in the Holy Land. His scenes are few, but they are key, and Irons shows his expertise in authoritative but sympathetic words of wisdom as he tries to keep Christian Jerusalem from going into all-out war with the Muslims and Balian from falling off the righteous path. Edward Norton is the emotional heart of the first half of the film as King Baldwin IV. Underneath a silver mask to hide the hideous deformities left by his leprosy, he is trying extremely hard to keep peace in his time by keeping both the Templars at bay and his court satisfied with the truce. But his frail condition has many worried that the Muslims will attack and he will be unable to lead, or, worse, that he is lying down and making too many concessions to their heathen demands. He has so much weight on his slender shoulders, and watching Norton valiantly struggle to keep lives from being lost is heartbreaking and wondrously inspiring.

Sweeping cinematography, an immersive score by Harry-Gregson Williams, an extremely able cast, and a rich realistic tone make Kingdom of Heaven a sweeping film that should be remembered with the ranks of Spartacus and Gladiator in the realm of great historical epics. It’s a whopping three hours for the director’s cut, the only cut there should be, as far as I’m concerned, so there’s a lot going on. Luckily, it’s all great, and with the exception of one or two faults, I would be extremely tempted to call this a perfect film. To get swept away in this historical fervor is a joy and a pleasure that I plan to relish more and more often. Ridley Scott strikes gold again, and the Holy Land is done justice by his beautiful eye and his great cast. I give Kingdom of Heaven 9 1/2 leper kings out of 10. A high recommendation!

Tomorrow’s Sunday, so I don’t know what I’ll watch! It’ll make for a good review, though, I think! Until then!

So I hear there’s a Monopoly movie in the works. The fact that I heard it from Cracked.com does not make the idea any less problematic.

Now, I enjoy Monopoly a lot. It’s probably my favourite board game (Cluedo can fuck right off). I know the secret little strategies, I know which squares you shouldn’t buy, I’ve even got out of jail free (with thanks to my lawyer, Quincy Rafter).

These days, there are so many versions of Monopoly that it’s getting ridiculous (some I’ve come across are King’s College and a knock-off set in Dartmouth). There’s even one based on post-war toy trains made by the Lionel company, which even I, a notorious train nut, think is a bit much. There’s a Belfast version, which primarily differs from the other versions in that the car is upside down and someone has shot the dog.

 But for me, Monopoly is the classic London version. You know, the one that features loads of places that you’ve only heard of because they’re on the Monopoly board. Old Kent Road is brown, Mayfair is purple. This version was for a long time also the one used in Europe and much of the Commonwealth. So well-known is this version that it’s often erroneously assumed to be the first one – that’s actually Atlantic City. Me, I don’t like the updated versions. I like my Monopoly to be a little bit retro, with steam trains in the station and some ugly old lag in the jail (I call him Cyril).

Anyway, that’s my credentials as a Monopoly-enjoyer established. And I think the idea of a movie is just awful. The scenario is this. Our main character is a lovable loser who works as an estate agent (because everyone loves estate agents, amirite?) and is an enthusiastic Monopoly player who one day…

[PAUSE INSERTED HERE. SEE IF YOU CAN GUESS THE NEXT PLOT POINT]

… finds himself inside the Monopoly game! It’s krazy!

Kirk Douglas in the unsuccessful Pictionary movie.

Here’s the thing. Board games don’t make for great movies. This is because they are board games. They are designed to work as board games. They are not designed to be watched. Frustration is a good board game, a two-hour film about frustrated people would not be a good movie. Snakes and Ladders – actually, that would be a pretty awesome movie. But in general, my point stands. The only board game movie that really worked was Cluedo (or Clue, if you’re one of those Yankee types), and that’s because the basic plot of the game is a standard Agatha Christie-style detective story, complete with country vicar and retired colonel.

Monopoly’s premise, on the other hand, is that it’s about buying and selling property. If you’ve ever dealt with estate agents, you’ll know what incredible fun that is. Now, the director is Ridley Scott, so maybe he’ll pull something out of the hat and produce a completely amazing film and I’ll wind up looking stupid. But I maintain that it’s almost impossible to make an interesting film about land sales. Unless…

Success!

Further reading

http://latimesblogs.latimes.com/herocomplex/2009/11/a-monopoly-movie-the-story-behind-the-roll-of-the-dice-.html - For a fuller account of this mooncalf of a movie.

Universal Pictures is near a deal with ad man Carl Erik Rinsch to make his feature directing debut on 47 Ronin, the epic period samurai swordsmen tale that will star Keanu Reeves. Yes I know a Ronin is a masterless Samurai.

Rinsch is the commercial director who was due to direct the Alien prequel before his father in law (I’m sure he’s married to or going out with Scott’s daughter), Ridley Scott, decided to head back to the facehuggers.

Rinsch is known for shooting visual and stylish ads for such brands as Mercedes, Sprite, BMW and Heineken.

47 Ronin tells the famous fact-based story of a group of samurai who were left leaderless (became ronin) after their daimyo (feudal lord) was forced to commit seppuku for assaulting a court official named Kira Yoshinaka, whose title was Kōzukeno suke. The ronin avenged their master’s honor after patiently waiting and planning for over a year to kill Kira. In turn, the ronin were themselves forced to commit seppuku — as they had known they would be — for committing the crime of murder. A happy tale indeed.

According to Variety, the Chris Morgan (“Wanted”) script was tailored so that the half-Asian Reeves can play one of the swordsmen. The picture mixes the fantastical elements of films like “The Lord of the Rings” with battle scenes of the sort found in “Gladiator” and “300.”

It all sounds good. Nothing like a load of Samurai fighting it out on the big screen. Plus Keanu’s acting style should be well suited playing a stoic Samurai warrior – although it does all sound a bit like The Last Samurai. Not sure how the film can have fantastical elements like Lord of the Rings, but maybe there will just be lots of wire work and stuff like that.

What do you think of the sound of 47 Ronin? Will Keanu work in it? Is first timer Carl Rinsch the right choice to direct?

Keanu Reeves

By Steven Zeitchik – HollywoodReporter.com

Carl Rinsch may not be directing the “Alien” prequel. But he’s got a pretty good alternative.

The commercials director, who had been loosely attached to the reboot of the sci-fi franchise, has landed the gig to helm “47 Ronin,” the samurai pic that’s set up at Universal with producers Scott Stuber and Pamela Abdy.

“Ronin” centers on a group of 18th century samurai who set out to avenge the death of their master. Keanu Reeves is attached to star in the film. Chris Morgan, who counts “Fast & Furious” and “Wanted” among his writing credits, penned the screenplay.

The CAA-repped Rinsch is the commercials wunderkind who made his name directing spots, many with futuristic themes, for the likes of Mercedes and Heineken.

He had originally been reported as attached to “Alien,” but reports later broke that Fox preferred Ridley Scott direct it himself (he had been on board only to produce). While there is no official word on “Alien,” Rinsch now likely won’t direct the prequel.

Samurai tales were for decades a staple in Japan, where movies like

Carl Rinsch

Kobayashi’s “Harikiri” and Kurosawa’s “Sanshiro Sugata” and “Seven Samurai” became broad hits. In the U.S. their audience has often been limited to a more arthouse audience, though Hollywood tried most notably in 2003 with Ed Zwick’s “The Last Samurai,” a Tom Cruise starrer that earned $455 million globally.

Amazon Specials!

Ta um boato, um corre boca que quem irá estrelar o filme sobre o impérioGucci serão as estrelas Angelina Jolie e Leonardo DiCaprio. O longa que contará toda a história da marca,que envolve assassinatos,brigas,confusão e muita coisa boa, está cotado para ser lançado em 2011. Ridley Scott, diretor do filme, diz que ainda não há título para o filme e que ainda estão aperfeiçoando o script.

Foto: FabSugar.com

Esse filme vai ser o must da estação (#NarcisaFeelings ) !

In preparation for — nay, in honor of — the upcoming premier of Bad Lieutenant: Port of Call in New Orleans, directed by Werner Herzog and starring the great performer Nicolas Cage, the Acme Video blog will be running a series of (at least) daily pieces on the entire Cage Oeuvre, with its startling highs and mystifying lows. It is one man’s tale… a chronicle of madness and obsession.

(So, there’s not gonna be any order to this thing. My only goal is to see them all. And to try and space out the good ones, so that I don’t have to watch, like, six Cage/Bruckheimer movies in a row. Any and all are encouraged to chime in in the comment section with thoughts, recommendations, dissenting opinions, etc. Today you get two stinkers for the price of one. Ever onward…)

DAY 2: MATCHSTICK MEN + BANGKOK DANGEROUS

I’ll ignore, for now, the question of what in God’s name has happened to Ridley Scott. But what a stiff, joyless film this is. Seriously, everybody was on autopilot for this one. None worse than Cage, who looks in this film like someone completely devoid of the joie de vivre that defines his best performances. Playing an obsessive-compulsive con-man, Cage’s character is nothing more than a collection of tics, twitches, and stutters; he over-acts his character’s quirks rather than give us anything of substance. There isn’t a single moment where he seems to be having any fun at all, which is the least he could’ve brought to a slick caper-film of this kind. Utterly forgettable.

Exhibit B is blockbuster Cage. Or at least, attempted blockbuster — this baby flopped at the box office (supposedly Cage’s own production company, Saturn Films, fronted most of the cost). There is very nearly no reason at all to see this film, though it is necessary viewing, for my purposes. He’s an assassin in Bangkok, lives only for himself, loves no one, will kill anyone and everyone who gets in his way, yadda yadda yadda. But dig his deaf-mute girlfriend, whom he primarily communicates with via pained facial expressions. This is Cage’s bread and butter — he’s a clown without makeup. None of these scenes were intended for comic relief, but… you take what you can get.

As we work our way through Cage-Fest together, I want you all to keep an eye out for some recurrent symbols in Cage’s work. There are a couple in particular that I’m interested in, but I’m still formulating my theories and I can’t say much as yet. But I’ll give you all a couple clues.

Clue #1: Cage’s hair. Be especially mindful of the style, and the direction in which it’s combed.

Clue #2: There are two Cages.

See you tomorrow.

Moviefone reported here that Monopoly has officially been given the green light, and that Ridley Scott is set to direct. The fact that studios are seemingly out of their minds is intensified when one discovers that Monopoly isn’t the only classic boardgame opted to be turned into film. (Find out which ones after the jump.)

That’s right, according to FilmDrunk, Battleship ,Risk, and even Rock ‘Em, Sock ‘Em Robots are being considered for silver screen treatment. That’s right kids, no more need for family game night, you can just watch the fun exploits from the comfort of your fat ass…er, I mean couch.

Are the studios serious? Can someone please give an enema to Hollywood and flush out the compacted fecal matter that seems to be clogging executive’s brains? The only thing more absurd than this would be a movie about a girl who hangs out with vampires and werewolves and doesn’t get bitten or scratched even once.

Oh. Right. Nevermind.

This absolutely blew me away.  If I ever need proof that the last 10 years of Hollywood have been mostly devoid of originality, I no longer have to search any farther.  /Film recently authored a post responding to Wikipedia’s listing of the top 50 highest grossing movies of the past decade.  Of the top 50, only NINE were original titles.  That is, not based on a previous story whether that be a comic book, TV show, play, clothing line, Disney Ride, whatever.  In fact, in the top 20 only one title (#15) emerged without owing allegiance to a previously liscensed property.  That being: Finding Nemo.  It’s absolutely staggering to think that since 1999 eighty percent of the highest grossing films were adaptations of some sort. 

Now, while it is imperitive to keep in mind that this list constitutes highest grossing box offices and not ALL of cinema over the last 10 years, it does still make a very declaritive statement about the state of film as we have come to know it.  The box office numbers drive production and Hollywood’s willingness to greenlight projects.  And if you were a number’s analyst, wouldn’t you lean more heavily towards projects you knew were going to profit for the studio?  With adaptations and revamps becoming a monetary must for studios, it seems fair to assume that we have a long way to go through the storm of upcoming adaptations.  In case you hadn’t heard the apocalypse-inducing news, Hollywood just recently went on a greenlighting frenzy to board game and toy properties, each of which makes the one before it look less and less absurd.  The laundry list goes as such:

_Candyland
_Battleship
_Risk
_Ouija
_Monopoly
_Clue

And those are just the movies about BOARD GAME adaptations. When you take into account the multitude of ALL upcoming adaptations, the figures are staggering. What’s even more interesting is the cast and crew that are attached to these projects. Ridley Scott is directing Monopoly. Etan Cohen (writer of both Idiocracy and Tropic Thunder) is writing Candyland. And when I last checked, Gore Verbinski was attached to Clue! It sounds insane but these big budget, fully backed films are even getting certified production teams. So while the most prudent reaction would be to sit back and give each production its due and allow these upgrades to try to speak for themselves and deliver a compelling revamped storyline to a priceless piece of Americana, I can’t help but worry that this is going to plunge us into a period of unoriginality the likes of which Hollywood has never seen. The question I’m most concerned with is, do we really want our generation of cinema-storians to be remembered as the era of the remake and revamp?

Nessuna verità (Body of Lies è il titolo originale) è un film del 2008 diretto da Ridley Scott e interpretato da Russell Crowe e Leonardi di Caprio. E’ un adattamento cinematografico dell’omonimo romanzo del giornalista David Ignatius.

Leggi altre notizie su: | Ridley Scott | Leonardo DiCaprio | Russell Crowe | Mark Strong

No hay finales sin principios, y a petición de diversos lectores (Gonzalo, Radagast, etc) aquí da comienzo este espero que curioso TOP TEN rebosante de nostalgia por un tipo de cine que no volveremos a ver. Quiero dejar claro que a veces los realizadores optan por poner los rótulos de crédito en la secuencia inicial, otras no. En algunos casos están realizados y concebidos por los propios directores, y en otras no. Por eso, indicaré quién elabora los títulos cuando sea preciso. Para comenzar esta selección quiero hacerlo de una forma un tanto retórica. Si comenzamos elegiendo diez finales y ahora vamos a hablar de inicios, pues quien mejor que Chistopher Nolan para abrir fuego. Fue este arriesgado director que se atrevió a poner el final de la historia al principio del largometraje. Así pues, vayamos pues hasta el año 2000 cuando se estrenó “MEMENTO”.  Estamos ante un final y un principio, todo en uno. Mejor forma de empezar esta selección de comienzos de película no he podido encontrar. Ojo, a pasar de que me gusta mucho, este no cuenta. Se trata sólo de una forma de comenzar, allá vamos…

INICIO DE MEMENTO

En el puesto número diez tenemos… el inicio de “LA GUERRA DE LAS GALAXIAS“  dirigida en 1977  por George Lucas. Los títulos de crédito fueron obra de Dan Perri, creador también de los de “El exorcista” o “Taxi driver”. Este es uno de esos comienzos que uno tiene grabado a fuego en la memoria. Era un niño que deseaba verla. Había visto por la tele que habían estado en el festival de San Sebastián C3PO, R2D2, Darth Vader, Luke Skywalker, Han Solo, La princesa Leia. Tengo el recuerdo vago de verlos posando ante las cámaras en la playa de Donosti. Desde ese mismo instante quise verla. Tras mucha turra en casa y diversos intentos, conseguí que me llevaran a verla. Lo recuerdo perfectamente aún, fue en los cines Roxy de la calle fuencarral de Madrid, en sesión de noche, estaba abarrotada la sala y nos tocaron de las últimas filas A pesar de que era canijo y alguna cabeza me tapaba parte de la pantalla me fue absolutamente indiferente. Al oir los maravillosos acordes de Williams, entré en un fascinante mundo del que todavía creo que no he salido.

INICIO DE STAR WARS: UNA NUEVA ESPERANZA

En el puesto número nueve tenemos… el comienzo de “SEVEN“, dirigida por David Fincher en 1995, en este caso fue el siempre genial Kyle Cooper quien se encargó de los títulos de crédito. En su currículum hasta ese momento tenía “Breaveheart” de Gibson y “Quiz Show: El Dilema“ de Redford. Me parece fascinante la maestría con la que resuelve este inicio, y por eso lo he elegido. La secuencia inicial incluye los títulos de crédito y nos describe perfectamente la mente y el modus operandi de este asesino en serie. Destacar tanto la fotografía de Darius Khondi y la música de Nine Inchs Nails, y la barroca voz de Trevor Horn.

INICIO DE SE7EN

En el puesto número ocho tenemos el inicio de una gran adaptación literaria… “LAS AMISTADES PELIGROSAS“ realizada por Stephen Frears en 1988. Impresionante me parece la labor de Stephen Frears en cómo plantea esta secuencia que engloba los rótulos de crédito. Hace una descripción física y psicológica de los personajes inmejorable. Todo acentuado por la increible suite de George Fenton, que recalca el momento histórico. Maravillosa la actuación de Glenn Close y John Malcovick.

INICIO DE “LAS AMISTADES PELIGROSAS”

 En el puesto número siete venido de la Tierra Media tenemos… “EL SEÑOR DE LOS ANILLOS“ dirigida por Peter Jackson en el años 2001. Todo un gran comienzo para una obra épica que consta de tres partes. Estamos una vez más ante una magnífica adpatación, y se me ponen aún los pelos de punta con la música de Howard Shore y la narración en off, es brutal.

INICIO DE “EL SEÑOR DE LOS ANILLOS”

En el puesto número seis tenemos… el comienzo de “BLADE RUNNER“, concretamente el de la versión de 1982. Film dirigido por Ridley Scott, contaba para sus rótulos de crédito con la colaboración de Vangelis, que le componía un score de lujo que te dejaba noqueado en la butaca. Esta es una de esas secuencias que ningún amante del séptimo arte olvida. Esa belleza postindustrial, llena de coloridos neones y llamaradas. Esos encuadres que parecen sacados de una viñeta de cualquier historia del “Metal Hurlant” merecen todo un respeto. Eso por no hablar de los increíbles efectos y fotografía obra de los desaparecidos Douglas Trumball y Jordan Cronenweth.

INICIO BLADE RUNNER VERSION 1982

En el puesto número cinco tenemos nada más y nada menos que los…“RESERVOIR DOGS“ dirigidos en 1992 por Quentin Tarantino, le enfant terrible de la industria de Hollywood. Cinéfago, cinéfilo, inclasificable, esos pueden ser algunos de los adjetivos con los que podemos calificar a este director norteamericano. De dialogos contundentes y salvajes tanto por duración como por temática. En el inicio de su ópera prima tenemos todas las claves de lo que veríamos con el paso del tiempo a lo largo de sus ocho películas como director. Brillante y delirante comienzo donde los haya.

INICIO DE RESERVOIR DOGS

En el puesto número cuatro… “ABRE LOS OJOS” dirigida por Alejandro Amenabar en 1997. El creador de los rótulos de crédito del film fue Carlos J. Santos, pero estos no llegan a estar incluidos en la secuencia inicial van tras la segunda secuencia. Su trabajo es de sobra conocido, ha hecho también los de “Acción mutante” de Alex de la Iglesia, “Familia” o “Torrente, el brazo tonto de la ley”. Creo que este es uno de los inicios más inquietantes del cine español. Considero que esta es su mejor película, y que no creo que vuelva  a realizar nada Amenabar a la altura de esta. Maravilloso el plano con la Gran Vía vacía.

INICIO ABRE LOS OJOS

En el puesto número tres tenemos… “EL DIABLO SOBRE RUEDAS” realizada en 1971 por Steven Spielberg. A pesar de ser un telefilm consiguió traspasar las fronteras de lo catódico y lo cinematográfico y consigió venderse si mal no creo en el festival de Cannes, y en Europa se distribuyó en cines con este título. Os recuerdo que el original es “DUEL”, que podríamos traducir como “Duelo” y está basado en un relato corto de Richard Matheson, otro viejo conocido de la videoarena.

INICIO DE “EL DIABLO SOBRE RUEDAS”

Y esta lista no puede acabar sin la gran labor de dos grandes genios. En primer lugar, aquí tenéis a un viejo amigo del blog, hablo de mi tocayo Alfred Hitchcock, así que en el puesto número dos tenemos…“LA SOGA“ realizada en 1948. En esta secuencia inicial plantea las múltiples lecturas que posee este largometraje. Por la forma en que está rodada, por la actitud de los personajes, por miles de cosas, pero es algo más que un asesinato, es el final de un trio sexual. Soberbio. Cómo se enciende el cigarro, aprece que acaba de echar el polvo de su vida como dice el detective Nick Curran en “Instinto básico”. Atentos y no dejar que se os escape ningún detalle. Y sobre todo los remordimientos que quedan después. Soberbio el maestro una vez más.

INICIO DE “LA SOGA”

Y para finalizar en el puesto número uno tenemos al otro gran maestro, Stanley Kubrick y su… “LA NARANJA MECÁNICA“ realizada en 1971. Se dice, se comenta, que los rótulos de crédito iniciales fueron elaborados por otro de los grandes, Pablo Ferro, pero no encontréis acreditado este trabajo por ningún lado, y eso es raro en Kubrick, así que le pasaría como a Alex North en “2001″.  En esta secuencia inicial comprenderéis la función y el sentido de un travelling. Es maravillosa la forma en la que describe el entorno y a los personajes. Su simplicidad es sólo igualable a su efectividad. Arropándolo con todo el mimo del mundo estan los estupendos acordes de Wendy Carlos. Además, en la pasada edición de Sitges Malcom McDowell recogió el premio por su labor en este film. Os puedo decir hasta cuando la vi por primera vez, porque luego le siguieron unas cuantas. Fue con dieciseís años en el extinto cine Torre de Madrid en la sala dos en la sesión de siete de la tarde. Desde entonces la tengo taladrada esta escena en mi cabeza. Mi madre no quería que la viera, ella consideraba que era ultraviolenta. Lo curioso es que con el paso del tiempo ya no lo parece tanto. Pero a pesar de todo, es impresionante.

INICIO “LA NARANJA MECÁNICA”

Evidentemente ardo en deseos de saber los vuestros Mister Crowley, Redrum, Homo Insanus, Mister Lombreeze generadores del invento, así como los de  Miss Darko, Eulez, Marchelo, 39 escalones, Ramón, Victor Guybrush, Empantallado, Gine, Álvaro, Ricardo, Mapoto, Fantomas, Dick, Miss Watflech, Varelax, Luis Cifer, Mister Frost, Alberto, que obviamente no es obligatorio contestar ni continuarlo porque sé de sobra que algunos de vosotros estáis muy liados, este post surge por la curiosidad de algunos de los lectores de este blog.

With your usual host in New York it falls to Tom and Producer John to take over the show. With Sam out of the picture for an episode we decided to run a feature on video games, perhaps to rekindle the fleeting romance that was our ill-fated other podcast, the Games Overdose.

So join us for a discussion of the absurdity of The Men Who Stare At Goats, a discussion of the absurdity of Monopoly as a movie and the absurdity of Avatar’s budget of circa $500,000,000. Just writing $500m doesn’t seem to do it justice, you need to put all the zeroes in there to convey that it is half a billion dollars.

We also have a chat about some Will Smith casting news, the merits of Babylon 5 and reminisce about the good old days where Roland Emmerich was content in just blowing up small cities and monuments in Independence Day, as a precursor to his disaster porn epic 2012.

Then we get on to our main feature and discuss the dearth of video game adaptations. Where have all the good ones gone? Could Prince of Persia and the red carpet treatment of Call of Duty: Modern Warfare 2 act as the catalysts for a new generation of video game and movie crossovers?

Download The Movie Overdose Episode 41

By Lindsay Wallace

Alan Doyle of Great Big Sea

Doyle’s character, Allen a-Dale, is one of the Merry Men in the Robin Hood story. “He’s a troubadour,” exclaimed Doyle. “He’s an Irish lute playing balladeer. He’s an artist who loves to sing a song. With two or three other guys, Allen a -Dale is one of the Merry Men who’s followed Robin Hood for a long time and hopes to continue to do so. Yes, I will be playing the lute in the film.”

Doyle explained that Ridley’s re-imagining of Robin Hood is to be surprisingly musical. “There is a lot of singing in the film,” he told us. “A lot of it by different people in different parts of the film. I don’t know quite yet if Russell and I will be singing together. But there will be lots of music in the film.”

So, how did this Canadian rock star with very little acting experience land such a gig? Doyle explained that Russell Crowe is a longtime close friend. “Russell knew there was a role coming up in this film and they needed a guy that could do the training and the physical stuff that was required, but also someone who has a long history in Celtic music and somebody who could play the lute. I’m sure there’s lots of people in the world who can do that, but he called me and asked me if I’d like to come to LA to read for the part. And off we went.”

Filming has begun but there is still much mystery surrounding Ridley’s vision and the script is still evolving. However, there will clearly be some “Gladiator”-esque action scenes for Crowe and Doyle, as they have been training with horses, archery and sword fighting.

Russell Crowe as Robin Hood

It should be interesting to see Crowe and Doyle on screen together in this film. The duo has performed together in the past, so perhaps they’ll be bringing their musical collaborations to the big screen as well. “I wrote a few songs with Russell for his band, and he wrote a few with me for Great Big Sea, and I also produced a record for his band and actually toured a couple of times in Australia and in Europe, I was sort of a guest in his band. It was a great collaboration, to be honest. He’s got a real different skill set than I have. He’s a real keen word smith as most of my actor friends are.

“It’s funny how they can do that isn’t, those actor types.” Doyle laughed, “But I’m an actor type now, so I have to stop referring to them in the third person!”

Ridley Scott’s “Nottingham” is slated for a 2010 release.

Below is footage from the set of ‘Nottingham’.

Finalmente o produtor e escritor Frank Beddor explicou como será a trama do estranho filme sobre o jogo de tabuleiro, Banco Imobiliário, que surpreendeu a todos quando foi anunciado, principalmente porque será dirigido por ninguém menos que Ridley Scott.

Beddor deu uma entrevista para o Los Angeles Times e contou a trama quase inteira do filme. O personagem principal será um simpático e cômico perdedor, que vive em Manhattan e trabalha em uma imobiliária. O personagem não é muito bom na sua função, mas é um grande jogador de Banco Imobiliário, ele quer bater o recorde mundial do jogo, que são 70 dias seguidos jogando Banco Imobiliário e para realizar essa tarefa ele precisará da ajuda de seus amigos.

Durante o jogo, ele é provocado por um amigo e acontece uma briga no jogo. Na hora da confusão ele tinha em suas mãos a carta de “Sorte ou Revés“, seus amigos vão embora e ele acaba dormindo. Quando ele acorda e tentar sair de casa percebe que tem no bolso somente o dinheiro usado no jogo, quando vai comprar um café entrega esse dinheiro para a moça que acaba devolvendo para ele o troco em dinheiro do Banco Imobiliário!

Ao sair do restaurante percebe que está dentro do jogo e ele vai precisar vencer seus concorrentes para conseguir sair do jogo e voltar para o mundo real.

Beddor acrescentou: “O filme é mais uma metáfora da vida, sobre correr riscos. O personagem vai aprender que ele é capaz de fazer um monte de coisas”

Apesar da história não ser uma ideia nova, já que a trama do filme Jumanji é quase igual a essa, confio muito no diretor Ridley Scott, que já provou ter capacidade de transformar tramas bobas em grandes filmes.

O roteiro está sendo escrito por Pamela Petter (Noiva Cadáver, A Casa Monstro). O filme ainda não tem cronograma definido.

Sendung vom 12. November 2009

Grundsätzlich neigen wir zur Nüchternheit. Dasselbe erwarten wir auch vom SF. Die allabendliche Sendung, dieser zwanghafte Versuch helvetische Steifheit als knackiges oder schwülstiges Infotainment-Paket an die schweizerischen «Hüüsholt» zu schicken, könnte von uns aus wie ein Kommandorapport aufgebaut sein (nachts, im Regen). Offenbar definiert der vormals bärtige Urs Leutert, den man auch ohne Bart dem Publikum nicht mehr vorführen darf (das SF ist offiziell keine freakshow), die Zielgruppe des immerhin einzigen Schweizer Landessenders so, dass genau diejenigen Zuschauer aussen vor bleiben müssen, die die urtümlich schweizerische Eigenart der Unaufgeregtheit auch dann noch kultivieren, wenn Rainer H.M. vor lauter Zappelphilippigkeit kaum noch stillzuhalten vermag (er versucht es natürlich, worauf sich seine Miene derart verfinstert, dass man unweigerlich an «Armaggedon» denken muss).

Ein Sieg ist ein Sieg ist ein Sieg. Punktum.

Wir leugnen nicht, dass nebst der reinen Resultateorientiertheit gerade in einer Sendung mit einem Anfang und einem Ende auch narrative Elemente einen Platz haben müssen (1977 hätte die Sendung den Charme eines DDR-Grenzpostens verströmt: Die TV-Legende Max Wolf mit einer Standardhornbrille aus dem Zeughaus verliest hinter einem spanplattenbraunen Pult die Resultate; «an der U17-WM in Nigeria schlägt die Schweiz im Halbfinal Kolumbien mit 4:0. Die Schweiz steht somit im Final. – Fechten: …») Auch wenn wir aufs hervorragendenste damit bedient wären, verstehen wir den Versuch, die Emotionalität, die einem Sportanlass per se innewohnt, darzustellen. Man mag nun kalauern, dass viele Wege nach Rom führen, und während die einen sie metaphorisch mit «Hamlet unter dem Kirschbaum» explizieren, greift das SF rein gewohnheitsmässig zur musikalischen Unterlegung. Verströmt die geflügelte Metaphorik den antiken und untrübbaren Glanz der Originalität, wirkt Letzteres oft nur noch platt (das liegt weniger am Sound/Image-Compositing als vielmehr an der Sterotypie am Leutschenbach: Bei Freestylesportarten greift das SF zur Stromgitarre, bei grossen Siegen zu Hymnischem, bei Rücktritten oder schmerzlichen Niederlagen zu irgendeinem Time-to-say-goodbye-Verschnitt).

Gestern war nun endlich wieder mal so ein Tag, und dem SF fiel nicht mehr ein, als zum Sendeschluss Aufnahmen der jubelnden Spieler der U17-Nati mit der Filmmusik aus Ridley Scotts «Gladiator» zu unterlegen.

Was geschähe mit Urs Leutert, träfe er in der Arena auf ihn?

Das alles wäre nicht mehr als gähnende Gewohnheit, hätte nicht gleichzeitig das Bakom verlautet, alle (genau: alle!) müssten TV-Gebühren zahlen, speziell diejenigen, die gar keinen TV besitzen (oder die Sendungen wie wir bei unserer Freundin Wilmaa schauen). Abgesehen davon, dass die tumben Riesen Bakom und Uvek mit ihren Hohlköpfen den Verstaatlichungsunsinn langsam aber sicher in Kölliken neben der Autobahn deponieren könnten, fragten wir uns, ob das SF eigentlich selber auch Gebühren bezahlt und Rechte einholt, bevor es den Soundtrack von «Gladiator» einfach so benutzt. Uns mit Billag-Werbung zu drohen, Gebühren für «Happy Day» und «G+G» zwangsmässig einzuziehen, ist das eine. Das andere, Urheber von verwendeter Musik auch zu entschädigen. Wir können uns, aller Einbildungskraft zum Trotz, nicht vorstellen, dass Hans Zimmer je einen roten Rappen für den gestrigen Beitrag erhält. Hans Zimmer? Hans Zimmer, Komponist: «Black Hawk Down». «Gladiator». «Madagascar». «Pirates of the Carribean». «Aramageddon». Bei Fragen, kann sich Urs Leuter hier melden: hans.zimmer@hollywood.com.

P.S.Worin besteht der Unterschied zwischen der Produktion des Schweizer Fernsehens mit Rainer H.M. von gestern abend und der zweiten und dritten Senderkette der SRG (TSR und TSI)? Beim zweiten und dritten braucht es keine Fremdsprachenkenntnisse. (L.T.)

E, pelo que parece, finalmente o jogo Banco Imobiliário vai sair do tabuleiro e pular direto para a sala escura de cinema. Foram mais de dois anos com informações desencontradas, mas hoje o produtor Frank Beddor deu ao LA Times algumas declarações a respeito da sinopse da da produção que até onde se sabe deve mesmo ser dirigida por Ridley Scott. Pamela Pettner a mesma que escreveu A Noiva Cadáver é a responsável pelo roteiro.

A história contará a obsessão de um agente imobiliário pelo jogo.  Seguindo um estilo fantasia, o rapaz – o ator ainda não foi escolhido – usará um cartão com poderes mágicos para se transporta a um universo onde o jogo Banco Imobiliário acontece. Nesse novo ambiente ele enfrentará os outros jogadores “irmãs Parker’.

“Durante a realização, irei buscar incorporar vários imagens icônicas do jogo como o levantamento de carros esportivos, empurrões de carrinhos de mão e afins para o longa”, disse Beddor.

Adriana Chaves

With your usual host in New York it falls to Tom and Producer John to take over the show. With Sam out of the picture for an episode we decided to run a feature on video games, perhaps to rekindle the fleeting romance that was our ill-fated other podcast, the Games Overdose.

So join us for a discussion of the absurdity of The Men Who Stare At Goats, a discussion of the absurdity of Monopoly as a movie and the absurdity of Avatar’s budget of circa $500,000,000. Just writing $500m doesn’t seem to do it justice, you need to put all the zeroes in there to convey that it is half a billion dollars.

We also have a chat about some Will Smith casting news, the merits of Babylon 5 and reminisce  about the good old days where Roland Emmerich was content in just blowing up small cities and monuments in Independence Day, as a precursor to his disaster porn epic 2012.

Then we get on to our main feature and discuss the dearth of video game adaptations. Where have all the good ones gone? Could Prince of Persia and the red carpet treatment of Call of Duty: Modern Warfare 2 act as the catalysts for a new generation of video game and movie crossovers?

Download The Movie Overdose Episode 41

There’s fresh information on the movie adaptation of the classic board game Monopoly. That’s right the creative well in Hollywood has run completely dry of original ideas, and has now resorted to just wandering the nearest toy-store for inspiration. What makes this even more unbelievable is that Ridley Scott, THE Ridley Scott is attached to the project.

Producer Frank Beddor, author of the Lewis Carroll-inspired Looking Glass Wars, has compared the new project to Alice in Wonderland in a chat with the LA Times. “I took the approach of thinking of the main character falling down the rabbit hole into a place called Monopoly City,” he says. So basically the plot will centre on a Manhattan real-estate agent who just so happens to be an obsessive Monopoly player. A magic chance card transports him to the city where Monopoly money is currency, and where the evil Parker Brothers must be stopped!

It all sounds awesome, but not really. Actually it sounds like Jumanji and Zathura, in themselves not bad movies, but certainly not worthy of a talent like Scott. Apparently Uncle Pennybags (the monocled fellow from the box) will appear multiple times in multiple disguises. Anybody else want to see Jim Carrey finally play the Monopoly guy? (That’s an Ace Ventura reference for those who now think I’m gone quite mad). Pamela Pettner, writer on the Corpse Bride, Monster House and 9 is onboard to do the screenplay, so the project does seems to have some creative merit.

Hur gör man brädspel till film? Fråga regissören Ridley Scott!

För inte så länge sedan har en filmatisering av strategispelet “Risk” utannonserats. Och nu är det Ridley Scott som har bestämt sig att ta sig an “Monopol”.

Hur omsätter man slumpgenererade uppdrag till film? Hur gör man filmkaraktärer av hattar och strykjärn? Hur kommer man att kunna gå direkt i fängelse utan att passera gå? Och hur är det med det där egentligen som kallas “handling”? Tiden får utvisa om man kan omsätta brädspel till film. Eller är det så att brädspelens enorma globala popularitet kan sälja vad som helst bara på grund av deras namn?

Läs mer om filmen ”Risk“
Läs mer om filmen “Monopol”

FilmMedia – Filmblogg

O Ashton Kutcher avisou que ontem foi aniversário da mulher dele. E embora todo mundo pense em Ghost ou na volta dela em As Panteras, eu prefiro lembrar de GI Jane – Até o Limite da Honra.  

Sim, porque a primeira mulher a ficar careca e ainda mais bonita não foi a Carolina Dieckmann.

Não, não, minha gente!!

O nome dela é Demi Moore.

E como se isso ainda não bastasse, ela encerra uma luta com a célebre frase:

SUCK MY DICK!

PS1: A Demi ganhou injustamente o Framboesa de Ouro por esse filme. Ela é, na verdade, uma das recorditas em indicações e prêmios ”do tipo”.

PS2: Ainda por G.I. Jane, ela levou o MTV Movie Awards pela cena de luta com o Viggo.