It’s macho men with funny helmets!

The first glimpse of BLUE was unveiled at Cinemax in a grand media event by none other than Music Maestro A.R. Rahman, sound expert Resul Pookuty, Director Anthony D’Souza and Producer Dhilin Mehta as they presented a unique ‘Sound Promo’ of the film.

Audiences too will get a sneak peek of the extravaganza on their television screens and on the big screens too as the theatrical promo opens with the weekend releases. An underwater action thriller BLUE captures the fast paced action, above and below the ocean as never seen before in Indian Cinema!

All set to hit theatres this Diwali on October 16th, Blue is produced by one of the biggest production houses Shree Ashtavinayak Cine Vision Ltd., which has tossed out landmark films like Jab We met, Bhagambhag, Golmaal,  etc. And this time, producer Dhilin Mehta has once again defied norms and raised the bar in film-making.

Under the visionary direction of debutant Anthony D’Souza this oceanic spectacle features Bollywood stars like Sanjay Dutt, Akshay Kumar, Lara Dutta, Zayed Khan, Rahul Dev, & Katrina Kaif.

Having an amalgamation of Hollywood and Bollywood, the film boasts of the best technicians from across the world. The wild scenic beauty of the oceans has been captured by the underwater specialist cinematographer Pete Zuccarini, who has worked on Hollywood blockbusters like PIRATES OF THE CARIBBEAN and DEEP BLUE SEA.

That’s not all; the fast paced racy action has been choreographed by action director James Bomalick who had set our pulses running with THE FAST AND THE FURIOUS – TOKYO DRIFT earlier.

When you’ve got such stellar cast and crew, can the music be far behind? This all-round action packed grandiose has none other than Oscar Winner A. R. Rahman composing the tracks for the film with the winning combination of Resul Pookuty engineering the sound.

And just when you thought you’ve got the best combination, the icing on the cake comes in the form of International pop-sensation Kylie Minogue who has performed a special number in the film along with the leading cast of the film!!!

Looks like the countdown to Bollywood’s most awaited film has begun!

TRACK LISTING OF BLUE & LISTEN FULL SONGS ONLINE

.

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BLUE EXCLUSIVE FIRST LOOK


CHIGGY WIGGY FIRST LOOK

AAJ DIL GUSTAKH FIRST LOOK

MESSAGE FROM AR RAHMAN ABOUT BLUE

This is my first film after the Oscars. So expectations are scary. It’s important to work with a great team to create great music and we’ve done that with Blue. What’s special about Blue is that it’s an underwater adventure. So, it was very exciting to do this score as a composer. It’s important that you don’t get typecast. It’s also important to give the kind of music the film requires and have fun with it!

Drown into the music of Blue.


- A.R.Rahman, Sep 1, 2009

Watch out www.rahmaniac.com for more updates on Blue.

]]> http://goremasternews.wordpress.com/2009/08/17/james-camerons-16-minute-avatar-trailer-premieres-in-theaters-on-august-21/ Mon, 17 Aug 2009 17:06:41 +0000 goremasterfx http://goremasternews.wordpress.com/2009/08/17/james-camerons-16-minute-avatar-trailer-premieres-in-theaters-on-august-21/



by Brian Haughey   – AssociatedContent.com

The 16-minute trailer for James Cameron’s much-anticipated movie Avatar will debut in participating IMAX theaters on Friday, August 21st. Cameron’s first movie since 1997’s Titanic, Avatar is touted as a revolutionary special effects-laden tale of aliens and humans in a futuristic world on the planet Pandora.

Actual footage of the years-long project has been kept top-secret. Cameron allowed certain scenes to be shown to a rapt audience of nerds at this year’s Comic-Con, with first impressions described by movie websites likeCinematical, and some stills and artwork have been leaked out in the past few weeks. However, Cameron intends the movie to be shown in 3-D in IMAX, so Friday’s sneak preview will be a more authentic experience.

The tickets to the IMAX preview will be doled out on a first come, first served basis on Monday, August 17, on Avatar’s official website. The extended trailer will only be available in IMAX Theatres, but don’t worry… the regular trailer will be available online on Friday, August 21, as well as the trailer for the Ubisoft Avatar video game.

What is Avatar about anyway? According to a press release on the official Avatar website, “Avatar takes us to a spectacular new world beyond our imagination, where a reluctant hero embarks on a journey of redemption, discovery and unexpected love, as he leads a heroic battle to save a civilization. The film was first conceived by Cameron 14 years ago, when the means to realize his vision did not yet exist. Now, after four years of actual production work, Avatar delivers a fully immersive cinematic experience of a new kind, where the revolutionary technology invented to make the film, disappears into the emotion of the characters and the sweep of the story.”

The movie premieres on December 18th. It stars Sam Worthington (Terminator Salvation), Sigourney Weaver (Alien), Michelle Rodriguez (The Fast and the Furious), and Giovanni Ribisi (Boiler Room). However, the actors might be taking a back seat to the film’s special effects, which are rumored to involve seamless CGI. Allegedly, the audience won’t be able to tell where the CGI begins and ends.

James Cameron has always been behind new developments in motion picture special effects. Films like The Abyss and Terminator 2: Judgment Day introduced the world to the seamless “liquid metal” special effect. He certainly knows how to wow a crowd of people in a darkened movie theater, even if it is just a taste of things to come.



]]> http://franzpatrick.com/2009/08/08/fast-furious/ Sat, 08 Aug 2009 07:35:27 +0000 Franz Patrick http://franzpatrick.com/2009/08/08/fast-furious/


Fast & Furious
★★ / ★★★★

Vin Diesel and Paul Walker return for the fourth installment of “The Fast and the Furious” franchise. The two find a common enemy but with completely different motivations. Diesel wants revenge for the death of the woman he loves (Michelle Rodrigues), while Walker, now working for the FBI, is assigned to arrest the ringleader of a drug importer in Mexico. I actually was less interested in the story and character development (though there was barely any here) and wanted to see more intense car chases. Whenever a scene doesn’t focus on the chases, the characters manage to talk like robots consisting of lame and laughable one-liners. The one that really made me laugh was when Jordana Brewster and Walker were talking in a cafe. Brewster tried to be insightful by saying something like, “Ever think of the possibility that you’re really a bad guy pretending to be a good guy?” Walker responds by saying that he does, pretty much all the time. I couldn’t help but roll my eyes (and laugh) because I felt like I was watching a really bad soap opera. I would’ve liked this movie a lot more if it took the “Transporter 2″ route and embraced its cartoonish nature instead of trying to pretend like something it’s not. I came into this movie expecting exciting car sequences and I got just that. And it was nice to see Walker and Diesel team up once again because they really do have an interesting brotherly chemistry. But I’m not recommending the movie because the writer (Chris Morgan) and director (Justin Lin) tried to inject too many banal scenes where characters are moping around and wasting time. Brainless teenagers will most likely enjoy this flick because it’s undeniably a lowbrow entertainment that features nothing more than insightful than fast cars and big explosions.

]]> http://blakemp.wordpress.com/2009/08/04/the-crappy-sequel-article-relocatio-program/ Tue, 04 Aug 2009 20:55:52 +0000 blakemp http://blakemp.wordpress.com/2009/08/04/the-crappy-sequel-article-relocatio-program/

A few months ago, while sitting in the movie theater waiting for a screening to begin, I was watching the trailers pretty intently. I love movie trailers. A good trailer can take a movie I was only mildly interested in, or not interested in at all, and make me really excited over it. On the other hand, a bad trailer (and here I am thinking of Sherlock Holmes) can take a film I was anticipating eagerly and make me dread seeing it, as clearly the person directing the film has never actually read one of the books the character appeared in. A European trailer, however, can theoretically cheer me up and convince me that the trailer I saw before was dumbed down and amped up on the assumption (correct) that most American moviegoers wouldn’t want to see an accurate portrayal of the greatest literary detective of all time.

But I digress. On this particular occasion, a film for a new car chase movie raced across the screen: Fast and Furious. The trailer was remarkably stupid, mindless, and the sort of thing that the average moviegoer eats like M&Ms. I was sure it’d be a hit. Still, something nagged me about the title… “Fast and Furious,” I said to myself. “Fast and Furious… why does that sound so…”

Then it hit me. This wasn’t really a new movie at all, was it?

Oh no. This was simply the fourth film in a series, following the brilliant and award-winning motion pictures The Fast and the Furious,  the Shakespeare-inspired 2 Fast 2 Furious, and the globally-conscious The Fast and the Furious: Tokyo Drift. But for this latest installment, the filmmakers were trying something different in the naming convention. Although they hadn’t gone for the obvious (The Fast and the Furious 2) in the previous installments, they did go with two of the other predominant sequel-naming conventions. For the second installment, they simply worked added number into the title, a technique pioneered by the landmark films D2: The Mighty Ducks or Beethoven’s 2nd. For the third movie, they eschewed numbers entirely in favor of a subtitle, as we have seen with such films as X-Men: The Last Stand or Land Before Time: The Kids Who Saw the First Movie Are Showing the Sequels to THEIR Kids Now.

But this… this new innovation in name-changing for the fourth film left me astonished. No number. No subtitle. Nothing added at all. No! Instead, the producers of The Fast and the Furious decided to eliminate the definite article “THE” from the title anywhere it appeared! Fast and Furious! So fast, so furious, no articles needed.

I walked away from this trailer with a hole in my gut, something bothering me terribly. If they cut out those two “THE”s… where did the “THE”s go?

Months later, sitting in another movie, watching another set of trailers, I would have my answer.

The Final Destination, a motion picture about a group of hot teenagers who narrowly escape death only to find that Death Itself is stalking them in an orgy of blood and death, is winding its way to a theater near me this August. “But wait,” I said to myself. “THE Final Destination? It sounds familiar, but…”

Of course, this too was the fourth film in a series. In 2000, we were graced to the original Final Destination, and in 2003, the inspired title Final Destination 2 took movie theaters by storm. In 2006, select theaters played host to Final Destination 3-D, a film so remarkable that they handed out special sunglasses before the screening so the audience could handle it. But now, in 2009, we watch as the fourth installment in the series abandons its numerical title convention and instead rescues one of the “THE”s abandoned by Fast and Furious. Truly, this was a great humanitarian gesture on their part.

But the wiser among you have already noticed the problem here. The Final Destination only rescues one of the orphaned “THE”s left by the renaming of the previous film. There’s still another “THE” out there — lost, cold, and alone, seeking a home in the title of another crappy sequel. Fortunately, my friends, we live in a society where crappy sequels are not just expected, they are inevitable. If that poor, lost “THE” is still seeking a home, may I propose one of the following film franchises rescue it before it falls in with a bad crowd and we find it trying to get in to one of those “art” films or something with Nicolas Cage. That, friends, is why I have founded the Crappy Sequel Article Relocation Program — because our articles are too precious to waste. Just imagine how that lost article would look with one of these handsome motion pictures:



If these, or any other crappy sequels to crappy movies are willing to reach out and give a home to this wayward, abandoned article, call the Crappy Sequel Article Relocation Prograp (CSARP) right now. The article you save could eventually be your own.

]]> http://hodgeblodge.wordpress.com/2009/08/03/point-breakthrough/ Mon, 03 Aug 2009 17:01:04 +0000 wynner http://hodgeblodge.wordpress.com/2009/08/03/point-breakthrough/

This weekend I watched Fast and Furious. Why? Because I wanted to see it okay, don’t judge me!  Anyway, it was brought to my attention that the first film in the franchise actually has the same exact storyline as Point Break. At first I scoffed…but if you still have doubts and haven’t seen TFATF recently, it’s time to put it in the Netflix queue. Also…and I may lose a lot of friends for this: I think I genuinely enjoyed both The Fast and the Furious and Fast and Furious.

For a detailed breakdown of the PB and TFATF comparison, go here. Justin Anderson did an amazing job.

]]> http://feitelogram.wordpress.com/2009/07/31/endings-and-beginnings/ Fri, 31 Jul 2009 23:57:44 +0000 feitelogram http://feitelogram.wordpress.com/2009/07/31/endings-and-beginnings/

“Looking out on the world beyond him”

He sees it, so close he could touch it.

So he goes for it.

Confident, at last.”

Those last few words put down marked the beginning of a queasiness in my stomach that persisted.

It was either the result of a stomach bug that had caused my festival-bound friend Chadd Harbold to “shit his brains out”, or the kind of feeling you get finishing your first screenplay.

Of course, the phrase “finishing a screenplay” is a misnomer. What you get at the end of writing such a thing, especially when it comes out in bursts from week to week, is something that is barely cohesive, riddled with typos and grammaticql errors, the product of rushing every week in brain-crushing guilt to finish your 5-8 pages to bring in to show your peers or not.

In a way, finishing work or writing pages does share a lot with the stomach bug Chadd had: since what you have is probably shit but you can’t wait to get it out.

A “blue” comparison I know (or dare I say, a “brown” one), but an apt one, if you asked me, particularly on the night of my writing group when I finished the pages.

It’s also worth nothing that in the film world, a screenplay is never completed until the film is almost in theaters, sometimes.

I have described screenwriting before as a “Pyrrhic art”, because if you attain success, that is the sale of a screenplay, you have essentially written something no one will ever see. Unless you are an auteur and write your own scripts that you direct, you are selling your child essentially to a director or producer who is not only allowed to rewrite the script as many times as he or she may please, bringing on various writers, but also filming it however they want, adding another level of interpretation. It’s like a giant, comical game of telephone, in that way. Except it takes that child’s game and applies it something you might profoundly care about.

Still, the young screenwriter puts that out of mind for now and celebrates for a time, the first of many finishes of his work.

Now, I was ready. I had already begun to think about my next project, an adaptation of the life of George C. Tiller and was eager to see how this would go over, how it would play.

I felt a sadness at leaving my characters behind. I felt a sadness at leaving the script.

But at the same time, I was filled with that gaul-y confidence, the feeling of inevitability, of bringing your work to your peers, into acceptance, into the unknown.

***

“I hope we can still be friends after this.” Jesse told me as we headed out of the writing group.

He was joking, of course, but the look on his face was one of sheepish uneasiness.

For Jesse, along with the other members of my writing group, who I had meant to surprise with the ending of my script, had just, as politely as they could, panned the shit out of it.

“Dude, I mean, come on.” said Andy, in his half-disbelieving SoCal drawl. “You couldn’t think of anything else?”

I didn’t know what to say.

I had founded my writing group as a way to get out pages, week-by-week, to add social pressure to the guilt of not writing, figuring that while it was easy enough to lapse into self-neglect, my personality wouldn’t allow me to think I was letting down my friends and people who had confidence in me.

More than that, I wanted to stay in touch with people: former film students, writers and actors. I wanted to see what’s up and read pages that I enjoyed reading in a casual setting, like the best moments of the writing classes I had taken at school, which were packed with friends like Rob Malone and Blake LaRue who brought in pages that were always funny and weird and a pleasure to read.

The group had gone on well, but it appeared that I had gotten spoiled on the praise I had received so far for my pages.

Writing the way I did, up until the last minute, hurrying and half-assing my way to any usable printer and exhaling only when I sat down to read had given me swells of self-satisfaction at my success, since I felt not only that my writing was accepted, but it was accepted in spite of meticulousness. That I could write well without, well, earning it.

It only fit that at the apotheosis of my efforts, I found myself dashed.

If you think that’s all melodramatic, I’d refer you to the words of my comedy writing teacher, D.B. Gillis, who once told me:

“The first response of any writer to a critque of his work will always be: fuck you, die.”

As the group split up from Caffe Dante, I trudged home, feeling the music that accompanied depressed characters from the television show “Arrested Development” play me off.

One thought in my head: Well, at least that girl, who couldn’t show up, wasn’t there to see this.

***

I should remark that failure artisitically has only brought me success in my past life at New York University Film School.

In my freshman photography class, the failure of my pastiched attempts at describing the world around me lead me to do more introspective work, which the class loved.

In my sophomore class, my attempts at specific one-line jokes of a film, fell flat, so I made sure every film I made told a story.

As a junior, I was too scared and dismissive of my own abilities and let a friend help direct my film, the recognition of which sent me into acting and directing class I loved.

As a senior, my first two scripts were flatly denied by my teacher, which pulverized me every time, to know something that’s come from you is inadequate, until I made my third script, which made me proud.

As a lover of women, I never tried to dress well or stand tall until an ex-not-girlfriend called me up to tell me she’d fucked my doppleganger, a move that acted like a slap-in-the-face towards some sort of recognition of self-appearance.

You could call this a positivistic narrative, a narrative of progress that I am imposing, the kind that people criticize when they discuss the falsehood of history.

The only response to this I could have, is that the idea that we are progressing in our lives, or moving forward, is what keeps us sane.

Like wearing a beloved hat, it’s unsure whether or not the hat makes you look cooler, except that you feel cooler wearing it.

If that makes any sense.

Anyway, the moral of the story is that I’m unsure what I’ll do with the end of my screenplay, but that it’s only the first finish of many.

And life marches on.

***

I moved into my new apartment today.

It feels smaller, though I am told over and over that it isn’t.

As I packed up my life of the previous two years, the same friends who hated my pages, came to move my furniture.

“My one rule is that I’m not touching your undies.” Andy told me, as we packed the apartment. “It’s like Pretty Woman, where she doesn’t kiss on the mouth.”

And now I’m sitting here, adjusting, to an apartment that was much like my previous one, but feels different all the same.

I feel odd and I’m still not sure I don’t have Chadd’s stomach virus.

But it isn’t about how I feel right now, but how I feel tomorrow.

Is what I think.

Is what I get from all this?

Alright, that’s pretty lame.

“I’m heading home later.” Rob, formerly Beardo, texts me. “I need to make my Washington State homage to The Fast and the Furious: Tokyo Drift.”

“How about The Fast and The Furious: Drunken Hobos in Olympia?” I suggest.

“Only if you’ll be my brother.” Rob tells me. Then:

“Hurry up with you’re response. You’re letting me down.”

]]> http://goremasternews.wordpress.com/2009/07/30/rodriguez-pena-moynahan-join-eckhart-in-battle-l-a/ Thu, 30 Jul 2009 13:11:29 +0000 goremasterfx http://goremasternews.wordpress.com/2009/07/30/rodriguez-pena-moynahan-join-eckhart-in-battle-l-a/


Michelle Rodriguez

By Borys Kit – HollywoodReporter.com

Michelle Rodriguez, Michael Pena and Bridget Moynahan have been recruited to join Columbia’s “Battle: Los Angeles.”



Bridget Moynahan

 

The sci-fi actioner, directed by Jonathan Liebesman and produced by Original Film’s Neal Moritz, stars Aaron Eckhart and is set to begin production in the fall.

“Battle” revolves around a Marine staff sergeant (Eckhart) and his new platoon’s battle against an alien invasion on the streets of Los Angeles.

Rodriguez will play Crpl. Adriana Santos, a member of a radio battalion.
Pena plays the father of a boy the Marines find along the way, and Moynahan plays a veterinarian.

“I’m thrilled to reunite with Michelle,” said Moritz, who worked with Rodriguez on “S.W.A.T.” and “The Fast and the Furious” movies. “Her intensity is just right for the platoon.”

Ori Marmur is overseeing for Original. Doug Belgrad and Sam Dickerman are overseeing for Columbia.



Aaron Eckhart

Rodriguez next appears in James Cameron’s sci-fi epic “Avatar” and will star and co-produce her first film, the historical drama “Tropico de Sangre,” through her production company Cheshire Kat. She is repped by UTA and the Collective.

Pena, who most recently appeared in “Observe and Report” with Seth Rogen, recently completed production on Werner Herzog and David Lynch’s psychological thriller “My Son, My Son, What Have Ye Done.” He is repped by CAA and Management 360.

Moynahan, repped by WME and Brillstein Entertainment Partners, next appears in Fox’s “Ramona and Beezus,” starring opposite John Corbett and Ginnifer Goodwin.



Michael Pena



]]> http://hollypoop.wordpress.com/2009/07/20/recension-fast-and-furious/ Mon, 20 Jul 2009 08:17:58 +0000 poopular http://hollypoop.wordpress.com/2009/07/20/recension-fast-and-furious/

Regi: Justin Lin
Genre: Action, Snabba bilar, Uppföljare
Längd: 107 min
Skådespelare: Paul Walker, Vin Diesel, Michelle Rodriguez mfl



Recension: Fast and Furious

För åtta år sedan kom The Fast and The Furious då regisserad av Rob Cohen. Den filmen ledde till två uppföljare och nu var det alltså dags för en tredje. Den här filmen är regisserad av samme man som gjorde den usla rullen The Fast and The Furious: Tokyo Drift. Dock har han använt sig av originaluppsättningen den här gången. Men räcker det?

Filmen tar sin början i den Dominikanska republiken där Dominic (Diesel) hans flickvän Letty (Rodriguez) och deras gäng åker runt och snattar bensin från stora långtradare. Dominic får nys på att polisen och federala agenter är ute efter honom så han bestämmer sig helt sonika för att bara försvinna spårlöst. Ett tag efter får han ett samtal om att Letty blivit mördad.

Paul Walker är för tredje gången snuten Brian O’Conner. Dock har han i den här filmen avancerat till att bli FBI-agent. Även han är ute efter Lettys mördare. Dock har han inte samma hämndbegär som Dominic. Efter lite omständigheter teamas de båda upp igen och tvingas samarbeta för att luska ut vem den skyldige är. Detta genom att göra det enda dom egentligen är riktigt bra på – Att köra bil jättesnabbt.

Jag hade egentligen inga förväntningar när jag såg den här filmen. Visserligen hoppades jag på att den skulle vara bättre än Tokyo Drift och det var den också. Men om man är helt ointresserad av pimpade snabba bilar som kan stegra så är detta nog inte en film för dig. Jag är inte så värst förtjust i den kulturen och förstår inte storheten i det. Men i Fast and Furiousvärlden så älskar ALLA snabba bilar. de lever helt enkelt för dem och alla kör som gudar. Storyn skyflas mer eller mindre undan för att bilarna skall få en större plats. Men jag hade inte förväntat mig något annat.

Allt som allt så är det här en okej film. Trots att jag faktiskt inte gillar 90% av skådespelarna som är med i filmen. Diesel har jag aldrig varit så förtjust i och Rodriguez är tokhemsk. Men som tur är så är hennes screentid inte så stor. Men se filmen, se själva vad ni tycker. Gillar ni inte den så kan ni sätta er och spela Need for Speed istället. För det är nästan samma sak, bara att du får köra bilarna själv istället för att bara titta på dem.

När jag tänker efter så är filmen precis som om man skulle sitta och titta på när en polare spelar Need for Speed…

]]> http://fearfulsymmetryuk.wordpress.com/2009/06/28/the-fast-and-the-furious-tokyo-drift/ Sun, 28 Jun 2009 18:34:39 +0000 Fearful Symmetry http://fearfulsymmetryuk.wordpress.com/2009/06/28/the-fast-and-the-furious-tokyo-drift/


I love you more than my car

Well I only watched this expecting some cool shots of Tokyo… those I got but there’s not much else here.

The plot is so by the numbers I was predicting actual scenes as they came up. There’s this poor but cool racing guy with a southern accent. After one race too many against the stupid jock who runs the school (and whose dad is of course rich and powerful) he’s got the choice of going to Japan or going to jail (an aspect of the American legal system that I must admit had previously escaped me). I loved the ultra-cliched bit where he turns up at his dad’s house (which is naturally the size of shoe box) and dad has to turn out ‘central casting’s dodgy-looking Japanese woman’. It’s really handy that once out hero arrives in Japan the one person who talks to him at lunch can get him into the local street racing scene. In between the car stuff there is a lot of frankly boring sub-par philosophy and a rubbish love story, where the hick hero falls for the odd looking local gangster’s moll ignoring all the j-babes around him. These are frankly agony to sit through. The bad guy is so over the top with the jealous staring and face-offs it looks like he’s got some sort of gay crush on the hero. There’s a road race towards the end that manages to include every significant bit of neon in the whole of Tokyo.

Naturally it ends in a big race between the goodie and the baddie and the baddie wins… heh, only kidding. I suppose if you are into car-porn you might like it but I’m afraid I could not really summon up enough of my inner fourteen-year old to enjoy it.

]]> http://shlooney.wordpress.com/2009/06/17/movies/ Wed, 17 Jun 2009 08:36:23 +0000 looney http://shlooney.wordpress.com/2009/06/17/movies/

سلام میخوام براتون چند تا از فیلم هایی که این چند وقتی که نبودم دیدم رو تعریف کنم.

mall cup



به نظر من این یکی از بهترین فیلم هایی بود که امسال دیدم. شاهکار بود داستانشو که میدونید پل بلارت که یک مامور امنیت فروشگاه هستش عاشق یکی از فروشنده ها میشه و یک روز یک سری دزد به فروشگاه حمله میکنند و نمیفهمند که پل توی یکی از مغازه هاست و بنابرین پل وارد یک داستان پلیسی میشه. یکی از خنده دار ترین صحنه ها ه.مون قضیه زخم کوچیک و چسب “هلوکیتی” بود که من سر اون صحنه یک ربع خندیدیم!

 

HOTEL FOR DOGS



داستان این فیلم درباره خواهر و برادری پرورشگاهیه که عاشق سگن و یک سگ هم دارن به ام “friday” یک روز که اون توی یک هتل خرابه میره دو تا سگ دیگه رو اونجا پیدا میکنه و…

فیلم خیلی قشنگی بود و پر از خلاقیت! و برای کسایی که عاشق سگ ها هستند خیلی خیلی مناسبه!!!!

 

INKHEART



راستشو بخوان من زیاد از این فیلم خوشم نیومد خیلی شیر تو شیر بود اصلا خوشم نیومد حرف دیگه ای هم ندارم.!

 

 THE FAST AND THE FURIOUS



این قسمت زیاد جذاب نبود ولی جالب بود داستان هیجان انگیزی داشت ولی بعضی جاها کاراکتر ها زیادی حرف میزدن اما در کل خوب بود.

 

x-men origins wolverine



اینو گذاشتم آخر سر چون واقعا خیلی قشنگ بود خیلی خوشم اومد هیو که گل کاشته بود بقیه هم همینطور دومنیک هم تو این فیلم بازی میکرد خلاصه عالی بود هرچی بگم کم گفتم داستانشم چگونگی بوجود اومدن x-men بود.

]]> http://musicmoviesandmore.wordpress.com/2009/06/10/rob-cohen-ditches-xxx-for-medeval/ Thu, 11 Jun 2009 01:32:56 +0000 Lukas Eggen http://musicmoviesandmore.wordpress.com/2009/06/10/rob-cohen-ditches-xxx-for-medeval/

Rob Cohen (XXX, The Fast and the Furious), has backed out of XXX: Return of Xander Cage, that would have re-teamed him with Vin Diesel (Chronicles of Riddick).  Instead, Cohen will be directing Medieval, an event action film that Cohen describes as “The Magnificent Seven” during the Middle Ages.  What do you think?  I would much rather have a new XXX film.

Lukas Eggen

]]> http://goremasternews.wordpress.com/2009/06/09/pre-eminent-visual-effects-supervisor-syd-dutton-joins-zoic-studios/ Tue, 09 Jun 2009 18:33:54 +0000 goremasterfx http://goremasternews.wordpress.com/2009/06/09/pre-eminent-visual-effects-supervisor-syd-dutton-joins-zoic-studios/



Syd Dutton

Studio Daily – Zoic Studios confirmed today that it is welcoming visual effects luminary Syd Dutton to help helm the company’s digital matte painting and feature film endeavors. Zoic Studios’ relationship with Syd began during Zoic’s filming of the feature film Serenity and the founders of Zoic have always been fans of Syd and his incredible body of work.

   Zoic is very fortunate to have this opportunity,” says Zoic CEO/Creative Director Chris Jones. “Syd is a wonderful artist who also loves to share his talents with those around him. As a mentor he will be able to bring classic ideas and techniques to a whole new guard of visual effects visionaries. Zoic Studios has always embraced new technology while continuing to evolve the classic techniques of visual effects creation and we feel that Syd Dutton is the perfect complement to this philosophy.”
   Emmy-Award winning Syd Dutton co-founded Illusion Arts in 1985, which has performed visual effects magic, creating thousands of shots and matte paintings for over 200 feature films. The company’s credits include the just-released Night at the Museum: Battle of the Smithsonian, John Adams, Milk, Aeon Flux, Narnia, The Bourne Identity, The Fast and the Furious, X-Men, Batman, Total Recall and Mad Max, among others. Syd Dutton worked for the matte department at Universal Studios where he learned the technique of motion-picture matte painting from resident matte artist Albert Whitlock. Following the retirement of Whitlock, Dutton and visual effects cinematographer Bill Taylor set up the independent effects studio Illusion Arts. When Taylor and Dutton decided to close Illusion Arts, both Dutton and Zoic embraced the opportunity to collaborate, with Dutton becoming a part of the Zoic team.

…more like this at GoreMaster.com

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