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munich di Steven Spielberg

esulecinefilo — Mon, 23 Nov 2009 16:07:27 +0000

DRAMM

Paranormal Activity

JAViN? — Mon, 23 Nov 2009 13:32:33 +0000

7/10

Kinostart: 19.11.2009
Spielzeit: 87 Minuten

Im Haus von Micah (Micah Sloat) und Katie (Katie Featherston) spuckt es. Dessen ist sich die junge Studentin absolut sicher. Etwas ungläubig aber dennoch neugierig kauft Micah, ihr Lebensgefährte, eine Videokamera und plant, die paranormalen Aktivitäten im Haus auf Band zu bringen. Doch diese Idee entpuppt sich als verhängnisvoller als er es sich hätte vorstellen können. Mit Hilfe eines Experten finden die beiden heraus, dass es sich bei den unerklärlichen Vorkommnissen um das Werk eines Dämons handeln muss, der Katie schon seit ihrer Kindheit verfolgt. Weglaufen bringt also nichts. Das junge Paar verharrt eisern im eigenen Heim und muss sich Nacht für Nacht immer zermürbenderen Ereignissen entgegen stellen. Die unerträgliche Qual endet in einem packenden und unvorhersehbaren Finale.

Der Hype um Paranormal Activity, der von den USA nach Europa überschwappte, erzeugte hohe Erwartungen in den deutschen Kinogängern, die sich am 19.11. zum ersten Mal dem Werk von Oren Peli aussetzen durften. Vom “besten Horrorfilm aller Zeiten” sprachen unzählige Magazine aus den Staaten, die den nur 15.000$ teuren Streifen als den Beginn einer neuen Zeitrechnung im Horrorgenre bejubelten. Natürlich half auch Steven Spielberg mit seiner Schauergeschichte vom ersten Schauen der DVD in seinem Wohnzimmer etwas nach – ob da nun etwas Wahres dran ist, spielt ja gar keine Rolle. Und so war für das deutsche Publikum bereits eine vollkommen andere Ausgangslage für die Premiere von Paranormal Activity gegeben, deren hohe Erwartungshaltung deutlich schwerer zu erfüllen war. Doch eines vorweg: Enttäuscht hat der Grusel-Thriller nicht.

Wie es sich für einen Horrorfilm gehört, fängt auch dieser langsam und ruhig an. Jede der 87 Minuten ist konsequent mit einer Handkamera gedreht. Und auch, wenn die vielen Wackler dem ein oder anderen schwachen Magen etwas zugesetzt haben mögen, es war das richtige Stilmittel. Von Beginn an kann sich der Zuschauer, wenn er denn bereit ist, sich auf diesen Film einzulassen, in die Szenerie einfühlen. Ein Pärchen wie jedes andere, ein gemütliches Haus, ein normaler Tagesablauf. Die beiden eher unerfahrenen Schauspieler Katie Featherston und Micah Sloat machen ihre Sache sehr solide und äußerst realistisch, was seine Gründe auch in den größtenteils improvisierten Dialogen findet. Einzig für die Zuschauer der deutschen Fassung werden die Synchronstimmen etwas lästig sein. Sie treffen zeitweise nicht ganz den richtigen Ton, was allerdings mit fortwährender Laufzeit immer unauffälliger und weniger wird. Wenn es drauf ankommt, stimmt auch die Dramatik der Stimmen. So wirken die ohrenbetäubenden Schreie von Katie, die nichts anderes als pure Todesangst wiederspiegeln, absolut echt.

Die Struktur des Films ist zunächst recht simpel. Die Nachmittage sind geprägt von Ruhe und Alltag, die Nächte zunehmend von Schrecken und Unheil. Nacht für Nacht nimmt das Grauen zu und schließlich sind die beiden auch tagsüber nicht mehr sicher. Dieser zu Anfang recht einfache und durchschaubare Ablauf wirkt auf Dauer ein wenig eintönig. Bis zur ersten Gruselszene, die sich bei Tageslicht abspielt, vergeht letztlich zu viel Zeit, sodass ein jeder Tag immer nur ein Warten auf die Nacht ist. Die Nächte haben es allerdings in sich. Auch, wenn irgendwann klar ist, dass mit dem Einbruch der Dunkelheit die nächste Schauerszene ansteht, sind diese absolut furchteinflößend. Jede Nacht wird gruseliger als die vorige und Oren Peli versetzt – zunächst nur über Geräusche, später auch über sehr sparsame visuelle Effekte – sowohl die Figuren als auch die Zuschauer mehr und mehr in Angst. Hinzu kommt die Tatsache, dass eine typische Horrorfilmmusik gänzlich ausbleibt. Die Vorkommnisse bei Nacht sind mit nichts anderem hinterlegt als mit Totenstille. Und so ist der Zuschauer die ganze Zeit über gezwungen, seiner Phantasie freien Lauf zu lassen, denn sehen kann er eigentlich auch kaum etwas bis gar nichts. Doch das, was sich dann in der Phantasie abspielt, wenn der Holzfußboden knarrt oder eine Tür quietscht, ist das Gruselige. Jeder hat schon einmal seltsame Geräusche in seinem Haus vernommen. Doch wenn sich diese dann absolut nicht mehr logisch erklären lassen, rauben sie uns den Schlaf. Genau darauf baut Oren Peli auf und er legt beinahe eine genaue Punktlandung hin. Denn auch, wenn das Ende zu keinem Zeitpunkt des Films auch nur annähernd vorherzusehen war, so schweift eben dieses schlussendlich doch ein wenig von der bis dahin streng eingehaltenen Linie ab. Inspiriert von Steven Spielberg will Oren Peli zum Schluss dann doch nicht ganz auf den visualisierten Schrecken verzichten. Doch trotz des nicht zu 100% zum Filmverlauf passenden Höhepunktes kann Paranormal Activity das Niveau über die volle Laufzeit hoch halten. Und gerade im Kino ist dieses Ende ungemein wirkungsvoll.

Natürlich hat auch der unbeeindruckte Zuschauer das Recht auf ein “Das hat es doch alles schon gegeben”. Selbstverständlich ist eine Handkamera keine bahnbrechende Neuentdeckung. Aber nur, weil sich Daniel Myricks The Blair Witch Project bereits dieser Einstellung bediente, ist Oren Peli doch nicht gleich ein langweiliger Immitator. Nach etlichen Jahrzehnten Filmgeschichte lässt sich das Rad nicht mehr neu erfinden. Und dennoch ist Paranormal Activity mit einer schonmal dagewesener Handkamera eine neue Art Horror-Thriller. “Der beste seit The Ring”, behaupten Kritiker. Das mag stimmen, zudem findet sich eben dieser dann doch in zwei Szenen wieder. Ist das Einsetzen der auf mysteriöse Weise verstorbenen kleinen Diane noch kein allzu auffälliger Hint, so lässt der Fernseher, der plötzlich von allein anspringt und ein verrauschtes Bild zeigt, schon eher die Erinnerungen an den Psycho-Schocker mit Naomi Watts aus dem Jahr 2003 aufleben. Doch damit ist die kurze Liste von allseits bekannten Stilmitteln in Horrorfilmen auch schon am Ende. “Nachahmung” wäre wirklich einer der letzten Vorwürfe, den sich Paranormal Activity gefallen lassen müsste. Ohne Musik, mit wenig Visuellem aber dafür mit vielen beängstigenden Geräuschen erzeugt Oren Peli letztlich maximale Angst.

Fazit: Die Erwartungen, die der Hype aus den USA hochschaukelte, waren schwer zu erfüllen. Dennoch hat es Paranormal Activity geschafft. Wenn auch dieser Horrorstreifen einige minimale Schwachpunkte erkennen lässt, so hat doch zumindest in den letzten fünf Jahren kaum einer so wenige aufgewiesen. Man muss als Zuschauer, wie erwähnt, natürlich bereit sein, sich auf diese Art von Horror einzulassen. Wer sich patu nicht gruseln will, der wird das Kino wahrscheinlich auch ohne Gänsehaut wieder verlassen. Aber wer Oren Peli das Zepter voll und ganz überlässt, wird sich tatsächlich voller Begeisterung einer nicht zwingend revolutionären aber dennoch völlig anderen Art, Horrorfilme zu machen, gegenübersehen und einen schaurigen Abend verbringen.

Big Dreams

jesterjay — Mon, 23 Nov 2009 10:35:59 +0000

Every day I find that my dreams of yesterday have changed. When I was a kid I was going to be a Ghostbuster. Then when my parents told me there were no such things as ghosts (big lie) I decided to become a scientist. Because the Ghostsbusters were all scientists, of course.

Soon that dream dwindled with failing marks in science and a weak stomach for biology. My dream changed again. I was going to grow up to be like my all-time hero, Steven Spielberg. I was going to make all the things my imagination offered up a reality on the silver screen! But somewhere along the line girls took over my life and, well, my grades dipped again.

When I finally decided to become a comedian (to the more than apparent grunts and groans of my parents) I was really just picking a career that sounded like a blast. Of course, most careers that sound amazing are usually low paying and a ton of work. Hence, after 2 years down the funny man road, I opted out, welcoming the world of part-time positions and little responsibility.

After 2 years of that, my father had had enough and threw the book at me. Actually quite literally. He had a Seneca College program guide and he whipped it at my face in the middle of a heated argument. After that the argument was mute. I had to pick a trade or get out of his house. Seeing as I had little money and even less skill, I took the former. I chose radio as my fallback because the girl I was dating loved music and thought I would sound great on the air. Of course, I was back on track and wanted to go into film and television. Following Spielberg’s footsteps once again. I was rejected. 4 times. But radio wanted me and I moved forward in that direction.

Quickly radio became a hub of fun learning surrounded by people who genuinely were exciting to be around. There were the next Howard Stern’s and the by the book jocks. There were sound engineers and musicians. There was even sports buffs who wanted to be commentators. It was a brand new world and it came easy to me. I graduated with honours and have worked in the industry for six years now. I’m told that’s longer than most careers last these days.

So after all of that prologue, we’ve hit our climax. And that is this. Now my big dreams seem to be getting smaller. A twinkie after work. A nap in the afternoon. Some free time to finish a book. The things that I look forward to now are minuscule in comparison to the grand dreams I once had. Which leads me to my latest dream. Something so simple it makes my friends shudder. A modest, and small life. I can only hope that the future is littered with days of strolling through the park, reading under a shady tree, chicken wings and a dvd rental, the PVR not failing, and some day a little more culinary talent.

It’s funny how our dreams are shaped and how they change. When I was younger I shot for the stars, but now I shoot for another year filled with laughter and friends. And really, to me, you can’t dream much bigger than that.

“The awareness of our own strength makes us modest.” Paul Cezanne

"Die Arena" von Stephen King

ParaKoopa — Mon, 23 Nov 2009 10:03:24 +0000

Gerade erst am 16.November ist das neue Buch von Stephen King erschienen und schon gibt es Pläne zu einer Verfilmung. In “Die Arena” (Originaltitel: “Under The Dome”) wird die kleine Stadt Chester’s Mill ganz plötzlich durch ein unsichtbares Kraftfeld vom Rest der Welt getrennt. Flugzeuge zerschellen an dieser Kuppel, Tiere werden zweigeteilt und Familien werden getrennt. Niemand weiß worum es sich bei diesem Phänomen handelt, niemand weiß wo sie auf einmal herkommt und ob sie jemals wieder verschwinden wird. Als die Vorräte immer knapper werden, beginnt ein Kampf um’s überleben in der zu einer Arena gewordenen Stadt.

Dabei muss man jetzt sagen, dass die Pläne einer Verfilmung gar nicht so viel mit dem Kino zu tun haben, denn “Die Arena” soll für die kleinen Bildschirme daheim als Miniserie umgesetzt werden. Dabei wird Stephen King allerdings von einer Größe Hollywoods Unterstützung erhalten, denn ausführender Produzent des Projektes ist Regisseur Steven Spielberg (der bereits mit “Taken” einen Ausflug in das Fernsehgeschäft machte). Die letzten Stephen King Verfilmungen waren 2007 “Zimmer 1408″ (nach einer Kurzgeschichte aus “Im Kabinett des Todes”) mit John Cusack und Samuel L. Jackson und 2008 “Der Nebel” (nach einer Geschichte aus “Im Morgengrauen”) mit Thomas Jane.

Tubarão

igorfrederico — Mon, 23 Nov 2009 03:17:13 +0000

Jaws, 1975 – Direção: Steven Spielberg – Elenco:Roy Scheider,Robert Shaw,Richard Dreyfuss.

Um dos melhores filmes de um dos diretores mais famosos e mais queridos de todos os tempos.

Tubarão, pra começar tudo é o filme mais “toma na cara e vira macho” de Spielberg, talvez o único. Mesmo com toda a questão da família e tudo mais, aqui o velhinho simpático não nos obriga a chorar ou ficar tristes ou receosos, ele apenas faz o filme pela gratificação de fazê-lo, nada mais.

A história é bem simples e brusca, se pegarmos que depois dos créditos iniciais vemos uma moça morrer puxada pra baixo da água por alguma “coisa” enquanto um bêbado na encosta, que não sabe nem se está na praia ou em Las Vegas, não a escuta. Depois descobrimos pelos restos destroçados da moça que ela foi atacada por um tubarão dos mais enormes. Daí começa toda a bagaça.

O chefe de policia tem que tomar uma providência quanto a isso certo? Então decide fechar a praia, nada mais lógico. Mas o interessante é ver que o capitalismo decorrente do nosso mundo esta presente ali criticado pelos realizadores da película. Eles jogam como Raimi jogou recentemente em Drag me to hell toda a culpa dos acontecimentos seguintes na ambição exagerada dos personagens em querer mais grana. O prefeito rejeita o pedido do chefe de policia e não deixe que este feche a praia. Até porque, a cidade é uma cidade turística de verão que ganha dinheiro com os turistas que vão pra lá no verão. E fechar a praia é uma loucura mesmo, é melhor algumas pessoas morrerem comidas por um animal enorme do que a cidade perder um ano de dinheiro.

Spilba (vou chamá-lo assim ta, porque só o chamo assim) cria um dos maiores climões de suspense do cinema aqui, e tudo com um grande “nada” aparecendo nas cenas e amedrontando qualquer um. Sim, um nada. O nosso tubarão só vai aparecer realmente lá pra parte final do filme (final mesmo). Fora isso, Spilba cria uma atmosfera de medo e pânico poucas vezes alcançada depois disso. Na época as pessoas ficaram com medo de ir a praias por causa do filme.

Os atores estão arregaçando tudo e é legal comentar um momento de qual não me lembrava (ou talvez a sessão da tarde tenha cortado) no qual, o nosso chefe de policia querido está acabado diante da mesa do jantar e o clima é pesado de mais e nós sentimos toda a culpa que ele sente (afinal, foi esbofeteado na frente de quase toda a cidade por uma mãe que perdeu o filho mesmo com o chefe sabendo). E mesmo assim, mesmo nesse momento cru e triste, o filho mais novo do chefe o imita, sim cada gesto, o que torna a cena ainda mais clássica e honesta. O jovenzinho é todo o símbolo de que Spilba sempre buscou em seu cinema: família. Sim, e apenas com gestos imitando seu pai o jovenzinho consegue transmitir tanto que nem eu aguentei ver a cena toda sem parar um pouco. Carga dramática e humorada ao mesmo tempo transcendendo o normal em um dos primeiros filmes do cara foi foda.

A cenas eternas de mais, desde a primeira morte, passando pelos ataques do tubarão, pela apresentação do Quint, vindo pelas cenas de aventura no barco até chegar na morte clássica e eterna do tubarão com um tremendo “smile, you sun of…”(“sorria, seu filho da…”), seguido da explosão do protagonista.

É folks, o protagonista é o tubarão, querendo ou não.

Mas o filme é tudo o que todos os fãs dizem mesmo, e eu sou um deles, portanto, vão e vejam se é que ainda há alguém vivo que nõ tenha visto. A única coisa ruim foi não ver com a dublagem clássica da sessão da tarde. Se tivesse ela no dvd eu nem fazia questão de ver legendado, sério, traria uma nostalgia da porra. Mas como foi redublado para quem não curte ver legendado e é besta por isso, no dvd não tem mais a versão da sessão da tarde.

Filme foda, um dos melhores do Spilba junto com Jurassic Park e Indiana Jones, e que tem um dos enredos mais fantásticos que já vi. Comentar também sobre a trilha sacana de John Wlliams que com apenas duas notas crescentes faz meu coração vibrar de tensão até hoje. Pois é, da fotografia aos enquadramentos inteligentes e surpreendentes (me espanto com algumas angulações que Spilba filmou no barco) à trilha sonora o filme se dá bem em tudo, inclusive no fazer divertir e ter medo, que é seu maior objetivo, ainda mais sendo o primeiro grande blockbuster que os EUA já viram em seu verão.

5/5

The End?

jonasribeiro78 — Sun, 22 Nov 2009 22:02:28 +0000

Antes do último texto sobre a Mostra de Cinema, preciso escrever sobre a ’super produção épica catastrófica’, que esta em cartaz em quase todos os cinemas, “2012″. Prometo que finalizarei em breve analisando “500 dias com ela”.

Já era de se esperar um filme com pouco embasamento teórico, mesmo porque ninguém vai para o cinema esperando uma película sobre o fim do mundo acreditando em algo extremamente realista com bases científicas muito plausiveis. Como a maioria dos projetos para o cinema do diretor Roland Emmerich (veja a lista aqui), o espetáculo visual está muito a frente do roteiro. Ainda é fácil encontrar uma linha narrativa muito semelhante em todos os seus projetos, quase uma fórmula, que ele não tem medo de repetir. Com uma pequena exceção de “Caça- Fantasmas”, que de certa forma diverge (não muito) dos outros.

Voltando a “2012″, o seu maior problema não está no roteiro batido, nas cenas impossíveis ou mesmo nos fracos personagens, porque afinal, o que queremos ver é o mundo acabar, não? Aliás, se vamos ao cinema para ver um cara que lança teias dos pulsos, outro que voa com a cueca por cima das calças além de Elfos e Hobbits, porque não um delicioso fim do mundo? A questão aqui, é que em nenhum momento ele consegue nos colocar dentro do filme, o tempo inteiro estamos seguros em nossas poltronas, toda destruição e Cristo sendo demolido não ‘mete medo’ em ninguém. Somente para citar um filme, com tema catastroficamente semelhante, abordado de uma forma diferente e tecnicamente excelente, temos “Guerra dos Mundos” (eu sei, eu sei, o desfecho estraga, mas o filme é muito bem feito). Steven Spielberg utiliza diversos planos seqüência, quase impossíveis, a câmera em vários momentos nos coloca ao lado dos personagens, como se fossemos as próximas vítimas dos terríveis alienígenas.

Continuando esse paralelo, é possível citar uma cena muito ’semelhante’ de destruição. No início de “Guerra dos Mundos”, existe a famosa passagem aterrorizante, quando Dakota Fanning vê os Tripods destruindo um viaduto atrás do carro que sua família esta em fuga. Em cena de “2012″, com aspectos muito semelhantes (vários viadutos sendo destruídos), parece muito mais um espetáculo circense, onde o carro indestrutível, ‘quase’ voa. Até pode divertir, mas cinematograficamente posso afirmar é muito fraco.

Outro aspecto técnico que incomoda é a fotografia, a câmera digital descaradamente utilizada nas cenas onde ‘não existe fim do mundo’, contrasta com as outras cenas de computação gráfica, a imagem tem uma qualidade diferente. Em certos momentos empobrece o filme, e deixa ainda mais evidente a falta de credibilidade dos próprios atores na trama. Citando o elenco que conta com John Cusack, Danny Glover, Thandie Newton, entre outros. Rostos conhecidos que pouco podem fazer para evitar a catástrofe mas cumprem o papel da maneira que podem.

‘Para não dizer que não falei das flores’, “2012″ pode sim agradar, se você esquecer qualquer nexo com a realidade, e isso que quero afirmar não tem nada a ver com o fato do calendário Maia ou da forma que o mundo acaba. Reparem que os ‘cavaleiros do apocalipse’ podem desfilar toda sua ira sobre a terra em um mar de fogo, mas a energia elétrica e a telefonia celular continuarão funcionando ‘firmes e fortes’. Despindo-se da razão, não esperando nada, apenas mais um filme de catástrofe, sim “2012″ diverte, mas com certeza qualquer esperança de provas que o mundo vai acabar em 2012, ou a sensação que seria se ocorresse este fato, desmoronam junto com o fim do filme.

A cena de “Guerra dos Mundos” da destruição do viaduto e o pavor nos olhos de Dakota.

O trailer de “2012″. Só cuidado, porque nele tem pelo menos um trecho de todas as cenas interessantes do filme.

Steven Spielberg und Stephen King verfilmen "Die Arena" als Miniserie

Feenfeuer — Sun, 22 Nov 2009 20:10:49 +0000

Im November 2009 ist er in Deutschland erschienen, der von Fans heiss ersehnte neue Stephen King Rom

Old Boy se salva (de momento) y no tendrá remake

Snake — Sat, 21 Nov 2009 23:15:42 +0000

Hay remakes de los que te alegras por su cancelación (iba a decir todos, pero no sería justo). Sería el caso de “Oldboy“. Y es que una cosa era ver la película de Chan-Wook Park y otra bien diferente lo que podríamos haber visto según Steven Spielberg y Will Smith. Francamente, el director de “Tiburon” será un artista cojonudo y todo lo que queramos (no el Dios de Dioses que muchos claman, pero en fin…), pero no lo veo yo enfrascado en dicho proyecto. Más que nada porque me veo que su “final” se habría distanciado bastante del original. Es decir, nos cuela un the end bonito, como suele hacer, y a otra cosa mariposa.

Si a eso le sumo la presencia de Will Smith, apaga y vamonos. No porque el colega sea un mal actor y le tenga manía, pero francamente, no me cuadraba en una historia como Old Boy. ¿Quizás porque haya visto la cinta original (que no el manga en el que se basa, que conste) y tenga prejuicios?. Pues a lo mejor. Pero se ve que hay que vender el producto como sea. Y la unión de Spielberg/ Smith habría sido un grandísimo reclamo para la taquilla.

Como he dicho, proyecto cancelado.

Mandate ha debido de dar un buen puertazo en las narices a Dreamworks (recordemos que la primera fué la productora que realizó la película japonesa). Quizás uno de los puntos que tuvo en cuenta Mandate a la hora de no dar el visto bueno a Spielberg, fué que él quería ser más fiel al manga en el que se basaba la película. Del cual desconozco y no sabría a ciencia cierta la diferencia entre éste y su versión cinematográfica.

Trailer de “Old Boy”

Fuente: Comics en 8mm

Fdo: Snake

Regreso al futuro

cinefagusmaximus — Sat, 21 Nov 2009 13:03:42 +0000

Título: Regreso al futuro
Título original: Back to the future
País: USA
Estreno en USA: 03/07/1985
Estreno en España: 02/12/1985
Productora: Universal Pictures
Director: Robert Zemeckis
Guión: Bob Gale y Robert Zemeckis
Reparto: Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover, Claudia Wells, Thomas F. Wilson, Billy Zane, Sachi Parker

Sinopsis:

Marty McFly es un adolescente amigo de Doc, un científico a los que todos menos él toman por chiflado. Cuando Doc crea una máquina para viajar en el tiempo en forma de un automóvil deportivo, Marty viaja accidentalmente al año 1955. Allí se encontrará con sus padres cuando eran jóvenes, pero impide su primer encuentro. A partir de entonces, y con el tiempo en su contra, McFly deberá conseguir que se enamoren para que se casen y él no deje de existir.

Opinión:

“Regreso al futuro” es de esas pelis que uno ha visto un millón de veces, pero que si se la encuentra en la televisión mientras zapea aburrido buscando algo de interés, se la calza de nuevo sin ningún rubor y disfrutándola como si la viera por primera vez. Tal es su magia y su poder de atracción. Y es que esta memorable y entretenidísima cinta de los ochenta viene avalada por unos padrinos que ya los quisieran la mayoría de las películas.

Doc y Marty...

Con Spielberg y Zemeckis a la cabeza, que tejen una historia original como pocas mediante un guion inteligente y soberbio, mas un reparto en el que todos brillan con luz propia, con mención especial para el simpático Michael J. Fox, y una puesta en escena extraordinaria, amen de los increíbles efectos especiales, el film brilla con luz propia y se ha convertido en uno de esos clásicos intemporales por derecho propio. Aparte de ser una película de culto para los amantes de la ciencia ficción y los viajes en el tiempo y las discusiones que dichos viajes acarrean, por el tema de las consecuencias y demás.

El Delorean

En fin, que nos encontramos ante una apuesta segura para pasar hora y media disfrutando como un enano ante la caja tonta. Acción, comedia, fantasía y rock’ roll. ¿Se puede pedir mas?

Puntuación:

8 / 10

STEVEN SPIELBERG y STEPHEN KING preparan una serie sobre UNDER THE DOME

Pablo Gutiérrez — Sat, 21 Nov 2009 12:11:09 +0000

El cineasta Steven Spielberg y el escritor Stephen King formarán equipo con Dreamworks TV para desarrollar una serie sobre Under the Dome, próxima novela de King. El formato del show será el de una miniserie y se emitirá muy probablemente en un canal de cable norteamericano. Como es habitual en la obra de King, Under the Dome es un thriller que mezcla lo sobrenatural con la ciencia ficción y que vuelve a estar ambientado en un pueblecito de Maine. Allí sus habitantes despiertan un día para ver su pueblo encerrado en un campo de fuerza invisible que les impide salir del mismo, al igual que entrar a gente del exterior. Con el tiempo se crearán facciones guerreras dentro del poblado, lideradas por enigmáticos personajes y enfrentadas entre sí por el control de las escasas provisiones. En la imagen, un montaje promocional de la portada del libro.

Who Framed Roger Rabbit? (R. Zemeckis), 1988

pol — Sat, 21 Nov 2009 11:03:22 +0000

posted by: pol

Hombres y “Dibus”

Cuando la premisa de una historia es brillante, lo más importante está hecho. Es cierto que el desarrollo puede ser peor o mejor, pero por lo menos, se ha plantado una buena semilla. Pensé en esto después de ver Who framed Roger Rabbit (Robert Zemeckis, 1988). El punto de partida es Los Ángeles, California. Pero con algunas diferencias: porque hay hombres, que trabajan en Hollywood, y “dibus” -¡sí, dibujos animados!- que trabajan, claro está, en Toontown (“dibullywood”, en la traducción española).

El desarrollo posterior de la historia es discutible, aunque hay que reconocerle la virtud de saber retorcer y adaptar las convenciones propias del cine policíaco, de intriga o incluso del thriller, a un género (¿o es sólo una técnica?) hasta entonces inexistente: el mixto de animación e imagen real. Eso es obra del guionista Jeffrey Price (conocido por su colaboración en otros títulos menos honrosos): aquí queda su tercer borrador.

Y una palabra para la técnica: es de reconocer un trabajo sensacional de animación; y más aún de interpretación. Aquí, un vídeo que lo explica de maravilla:

Eagle Eye

itzstreaming — Sat, 21 Nov 2009 01:45:31 +0000

Eagle Eye è un fil d’azione del 2008 diretto da DJ Caruso e interpretato da Shia LaBeouf e Michelle Monaghan. I due interpretano un giovane uomo e una madre single che si sono riuniti e costretti da una telefonata anonima nella realizzazione di un piano per sconfiggere una possibile organizzazione terroristica.

Leggi altre notizie su: | Steven Spielberg | Shia LaBeouf | Michelle Monaghan | Rosario Dawson

muzica de aducere aminte- cu film 2

aurelianb — Fri, 20 Nov 2009 23:17:00 +0000

King + Spielberg = Under The Dome

Jorge — Fri, 20 Nov 2009 21:53:06 +0000

O novo livro de Stephen King, Under the Dome, antes mesmo de ser publicado nos EUA no último dia 10

Under the Dome scoop!

xymarla — Fri, 20 Nov 2009 19:56:34 +0000

Yeeeesssssss!

King and Spielberg are collaborating to bring Under the Dome to cable as the TELEVISION MINI-SERIES EVENT OF THE DECADE! (says me)

Under the Dome was already going to make one sensational mini-series no matter what. But now that S-Spiel has stepped in, we know it’ll be a huge, history-making success. And you guys, I will BRING IT, totally 3rd grade Marla-style!

When I was 8, IT premiered on television over two consecutive nights. I can imagine myself squirming through the school day, tapping my pencil impatiently on my desk and kicking my short little Marla legs out from my chair, just DYING to get home, scarf some dinner, grab an Orange Crush and dive onto the couch with my dad to watch some massively scary shizz unfold. Pennywise the Clown was only ever glimpsed through my stubby little fingers, because I could just barely stand to look at…this:

Yeeps! S. S. Georgie, noooo!!! You’re floating the wrong way!!

Even though I was just a teeny little Marla at the time, I’d already read the book, because my father is a newspaper publisher and doesn’t believe in censorship of the written word. He made me promise I’d skip over the bad parts. I totally fibbed!

The point being, I LIVE for mini-series(es) made out of novels that I love. Screw theatrical releases; they have to leave out so much! I want EVERY DETAIL! Sorry, Keira Knightley’s Pride and Prejudice, but unless you are 5 hours long, I’m not interested.

So I’m totally going to watch Under the Dome old school-style: LIVE on an ACTUAL TELEVISION with REAL COMMERCIALS, telling my friends that sorry, I can’t go out, because I have some serious squealing to tend to on my sofa! And then I will review it in infinite detail here, on DIH!

Steven Spielberg Teams with Stephen King for Under the Dome

goremasterfx — Fri, 20 Nov 2009 12:24:22 +0000

by Peter Sciretta – SlashFilm.com

Stephen King mentioned that his new book, Under The Dome, might end up as an HBO miniseries. Variety now has word that Steven Spielberg and DreamWorks TV have optioned the book and are looking to set it up as a mini series, likely for cable. Spielberg will executive produce. The story is set in a small vacation town in Maine which becomes covered by an invisible force field which causes the residents to fight for survival, in two warring factions.

Here is the official plot description from the book:

On an entirely normal, beautiful fall day in Chester’s Mill, Maine, the town is inexplicably and suddenly sealed off from the rest of the world by an invisible force field. Planes crash into it and fall from the sky in flaming wreckage, a gardener’s hand is severed as “the dome” comes down on it, people running errands in the neighboring town are divided from their families, and cars explode on impact. No one can fathom what this barrier is, where it came from, and when — or if — it will go away. Dale Barbara, Iraq vet and now a short-order cook, finds himself teamed with a few intrepid citizens — town newspaper owner Julia Shumway, a physician’s assistant at the hospital, a select-woman, and three brave kids. Against them stands Big Jim Rennie, a politician who will stop at nothing — even murder — to hold the reins of power, and his son, who is keeping a horrible secret in a dark pantry. But their main adversary is the Dome itself. Because time isn’t just short. It’s running out.

News Roundup - November 20, 2009: The Beard, The King, The Pitts!

Droid — Fri, 20 Nov 2009 11:18:06 +0000

Here’s a few somewhat interesting developments for your eyeballs.

Sam Worthington earns the dubious crown of king of sci-fi

Worthington has signed on to star in what sounds like a rehash of Minority Report. Based on an as yet unpublished funnybook, “The Last Days of American Crime” is “set in the not-too-distant future, and involves the U.S. government’s plans to secretly broadcast a signal that makes it impossible for anyone to knowingly commit unlawful acts.”

Worthington “dropped out” of ‘The Tourist’, opposite Angelina Jolie (and was replaced by some unknown bloke named Johnny Depp), which is unfortunate because after T4, Avatar and Clash of the Titans, I reckon Sammy-boy needs to break away from sci-fi/fantasy blockbusters.

Brad Pitt enters the ‘Dark Void’

Get Uwe Boll on the blower, Pitt’s production company, Plan B, have bought the rights to the videogame ‘Dark Void’, which “follows a pilot who crash lands in the Bermuda Triangle following a routine mission and finds himself in an alternate world resembling a primitive Earth where aliens with superior technology are planning to take over civilization.” Plans are for Pitt to star.

Sounds a bit ‘Planet of the Apes’ish to me. Has there been a videogame adaptation that’s actually been any good?

When Steven met Stephen

Steven Spielberg has bought the rights to Stephen Kings new book ‘Under the Dome’, with the intent of producing it as a television miniseries. The book “revolves around the drama that unfolds after an invisible force field suddenly descends on a small vacation town in Maine. As the locals fight for their survival, the town descends into warring factions led by enigmatic characters.”

Film adaptations of King’s books tend to fall on the side of diabolically awful (with a few exceptions like ‘The Shining’ or ‘Misery’), but as a miniseries it could work. ‘The Stand’ wasn’t too bad, if memory serves.

It’s going to be a White Christmas.

Mike White is writing ‘Santa Wars’ which centres “around the battles that erupted after two men who made seasonal livings dressing up as Santas formed a union, the Amalgamated Order of Real Bearded Santas, but then became bitter rivals.”

I’m not much of a fan of seasonal flicks, but if this can even come remotely close to the warped genius of ‘Bad Santa’ then it may be half decent.

Steven Spielberg, Stephen King, Under the Dome

ubercom — Fri, 20 Nov 2009 10:38:03 +0000

Variety now has word that Steven Spielberg and DreamWorks TV have optioned the book and are looking to set it up as a mini series, likely for cable. Spielberg will executive produce.

Steven Spielberg, Stephen King team up for ‘Under the Dome’

celebrityandworld — Fri, 20 Nov 2009 09:34:40 +0000

American film director Steven Spielberg and writer Stephen King have teamed up to develop a limited series based on King’s just-released supernatural thriller “Under the Dome”.

DreamWorks TV optioned the book and is looking to set it up as an event series, likely for cable, after its principal Stacey Snider brought the project to the company, reports Variety.

Spielberg, King and Snider will exec produce along with DreamWorks TV chiefs Darryl Frank and Justin Falvey, and the film studio has started meeting with writers for the project.

The book, which has earned strong reviews as a return to form for the prolific author, revolves around the drama that unfolds after an invisible force field suddenly descends on a small vacation town in Maine.

As the locals fight for their survival, the town descends into warring factions led by enigmatic characters.

The “Dome” deal continues a burst of activity on the small screen side for Spielberg and DreamWorks TV.

..::Wasserlautsprecher für feuchte Musikerlebnisse::..

pixelwoman — Fri, 20 Nov 2009 08:04:05 +0000

Wann musstet ihr das letzte Mal von einem Lied auf die Toilette? Tja, es gibt immer ein erstes Mal. Erlebe mit Spica Musik auf völlig neue Art. Nur euere Blase könnte überfordert sein.

Spica, eine Art «Audio-Version der Lava-Lampe» – So ist es am einfachsten beschrieben.

Der Wasserlautsprecher nutzt besondere Effekte von Licht und Wasser, um Sound zu visualisieren. Bisher ist der Spica noch ein Konzept, aber ihr könnt euch im Videoclip schon ein Bild davon machen.

Report: Stephen King and Steven Spielberg to work together again, they will bring us, "Under the Dome" to the small screen!!!

Kev Brock — Fri, 20 Nov 2009 04:37:04 +0000

Steven Spielberg and Stephen King, once worked together to bring us, “The Talisman” into a TV min-series, but the project was dropped due to budget costs. King and Dreamworks just greenlighted the rights for, “Under the Dome” to be made into a TV mini-series. “Under the Dome” is a brand new novel by Stephen King that was just released.

Variety Reports:

http://www.variety.com/article/VR1118011629.html?categoryid=10&cs=1

Now that JJ Abrams is no longer doing, “The Dark Tower” series into a movie, somehow I get this feeling, that Spielberg might take over.

It’s great to see King and Spielberg working together after all these years. Hopefully they’ll get something on the big screen too, and it should be, “The Dark Tower”. I think Spielberg would make a great, “Dark Tower” movie too.

Kev

On the way to the bank is the best time to cry

Alf Grumble — Thu, 19 Nov 2009 20:36:20 +0000

Alf isn’t a great one for movies, but not just because there is a dearth of cinemas in Eketahuna. Rather, it’s because there are better things to do and the best place to do these better things is down at the club.

Because he’s only an occasional movie-goer, he may be accused of being ill-fitted to comment on the fuss over The Vintner’s Luck. But bugger it. He will comment anyway.

On the strength of his newspaper reading, fair to say, he won’t bother going to the movie, even though it’s directed by Niki Caro and people tell him she made Whale Rider which everybody except him went to see.

His urge to blog on the matter was triggered by news that –

Author Elizabeth Knox’s sister has waded into the row over the film adaptation of The Vintner’s Luck, saying the glossing over of a gay relationship was a case of “bad politics”.

Sara Knox, an academic and writer, said she had refused to see the film and shared her sister’s sense of “betrayal” over its treatment.

The Dom-Post goes on to bring this woman’s sexual inclinations into considerations.

Sara Knox, who is gay, said yesterday that she was upset at the decision to remove the relationship in the film.

“The reason I haven’t seen it is because I already feel like the film is a betrayal. I feel that personally, partly because I’m Elizabeth’s sister, but the book was gay romance.

“If you take that out … all of the conflict and drama is evacuated. It leaves nothing,” Dr Knox said. “It’s bad politics and I don’t like it.

“There isn’t enough fine literature written about great varieties of different kinds of love, that’s what [The Vintner's Luck] did. It could have been an opportunity for a film to add to the human experience of joy and love, but no.”

Alf is tempted to think it’s a bloody good thing the film-maker has glossed over a gay relationship.

It’s fair to suppose one of the aims is to make a buck or two from the venture, after all.

And let’s face it. If we did have a cinema in Eketahuna, films about poofters probably would draw a zero audience.

This is especially so if one of the poofters is an angel, which pushes matters into the domain of the preposterous.

But here’s the bit that puzzles this crusty old blogger .

Elizabeth Knox told The Dominion Post this week she had cried for days when she found her novel’s central relationship – a gay romance between French peasant winemaker, Sobran Jodeau, and an angel, Xas, – had been played down in the movie by Kiwi film-maker Niki Caro.

Question: did she not get paid for the film rights to her book?

More important, what did she expect would happen when she sold the film rights (which presumably she did, or otherwise the lawyers would have become involved already).?

Did none of her mates warn her that film-makers are renowned – if not notorious – for being cavalier with the books on which they base their screen-plays?

Alf remembers going to Spielberg’s The Lost World: Jurassic Park . He found it bore no resemblance to the book (but it wasn’t a bad movie).

Mind you, the author of The Lost World – a bloke called Michael Crichton – wrote books which have sold over 150 million copies worldwide. Many have been adapted into films.

In 1994, Crichton became the only creative artist ever to have works simultaneously charting at #1 in television, film, and book sales (with ER, Jurassic Park, and Disclosure, respectively).

Betcha the only crying he ever did was all the way to the bank.

So maybe Elizabeth Knox is not getting rich. But she should get real.

What on Earth has happened to Hollywood?

fingertipsfilm — Thu, 19 Nov 2009 17:03:17 +0000

Fingertips’ film correspondent Seun Fabunmi takes a look at the state of the modern movie industry

“What has happened Hollywood?” has been the question on every true movie-lover’s lips over the past three or four years. Hit film-makers such as Steven Spielberg and Michael Bay have seemingly ditched their originality by the roadside and instead jumped on a gravy train of remakes, prequels, sequels, movies based on toys, movies based on video games, movies based on comics, and whatever else that can be coupled on to this never-ending freighter.

You only have to look at movies made 50 years ago to know Hollywood has always created remakes, although in the past they were notably subtler. You may have seen five or six remakes a year, but that was it – you knew other than this, you would undoubtedly be treated to a thick slice of originality pie.

As per usual, the transformation to this galaxy of remakes probably started with money – which as they say, is the root of all evil.

For an early example of this, we must travel back in time to 1953, when a young man decided to write and publish his first book, based on his espionage experiences in World War II.

Subsequently, Ian Fleming had a number of his James Bond books made into movies, along with children’s classic Chitty Chitty Bang Bang. As time went on, film adaptations became prominent, with another notable milestone being when the vigilante caped crusader Batman was reinvented for the big screen by cult director Tim Burton.

Created by DC Comics, the first in the long-running franchise was shown to audiences worldwide in 1989 and grossed well over £200 million at the box office. The surprise hit of Batman left nice, fat grins on the faces of producers everywhere who realised that they could capitalise on the film’s success.

Boardrooms everywhere were fuelled with ideas of projecting superheros from their youth on to the silver screen. Since then we’ve witnessed a slew of superheros make the leap from printed page to cinema, from the popular X-Men franchise to the less-celebrated likes of Daredevil and Ghostrider.

Ten years ago, it wasn’t so bad. Even five years ago, originality still had its feet firmly in the door, not allowing itself to be shut-out.

But now, it is definitely too late. There are an exceptional few who do keep their creative minds intact, but it’s not enough to stop the hoard of remakes coming through.

It will be interesting to watch the Oscars next year, especially films within categories such as Original Screenplay, because it’s likely that we will have never heard of them and/or they were made on a miniscule budget, considering the distinct lack of talent on show in Hollywood’s big-hitters.

Tellingly, the great novelist Herman Melville once said: “It is better to fail in originality then to succeed in imitation.” Perhaps this is more relevant than ever.

Tiburón

mickymousse — Thu, 19 Nov 2009 13:02:36 +0000

Director: Steven Spielberg Reparto: Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, Murr

KUROSAWA. Un documental sobre la vida del maestro

orsonwelles — Wed, 18 Nov 2009 19:01:00 +0000

Como complemento a la autobiografía de Kurosawa que desde hace ya varios años tenemos a nuestro alcance en su traducción al español, nada mejor que echarle un vistazo a este extenso documental, dirigido por Adam Low, que nos acerca aún más la vida y las películas de quien es considerado, junto a Mizoguchi, Ozu y Naruse, uno de los cuatro grandes del cine japonés, y el más accesible a la mirada occidental.

A través de la narración de Sam Shepard y los testimonios del propio cineasta, su familia, y varios de sus colaboradores, las imágenes nos muestran los momentos más decisivos de la vida de Kurosawa -la estricta educación recibida, el suicidio de su hermano, la crisis tras el fracaso de su propia productora al estrenar Dodes´ka-Den (1970), que le lleva a no encontrar financiación en su propio país y a un intento de suicidio, etc- y de su trayectoria como director, desde sus inicios como guionista en films propagandísticos y los primeros trabajos como realizador durante la guerra y la ocupación estadounidense, pasando por sus grandes obras maestras -que descubren el cine japonés a gran parte de la crítica europea y que son, algunas de ellas, objeto de remakes-, hasta sus últimos films producidos en el extranjero, con capital soviético Dersu Uzala (1975) y con capital norteamericano (Lucas, Coppola y Spielberg) desde Kagemusha (1980) hasta Madadayo (1993), su testamento cinematográfico.

Editado en DVD por Filmax.