Qualquer fã do Douglas Adams estava salivando por uma adaptação para o cinema, comigo não era diferente. Se não foi o melhor filme do ano, ao menos feio não fez, especialmente pelas indefectíveis encarnações de Sam Rockwell na pele de Zaphod ou a voz de Alan Rickman dando toda a alma necessária a Marvin. Infelizmente não foi um sucesso de bilheteria e fatalmente não veremos uma adaptação de O Restaurante do Fim do Universo pelas próximas décadas.

2- No Direction Home: Bob DylanDeixem os documentários para quem sabe, no caso, tio Marty. Obra prima.

3- My Dad Is 100 Years OldNão é apenas uma das melhores declarações de amor de uma filha para um pai, mas um belo atentado amoroso ao próprio cinema. Curta este feito a quatro mãos por Isabella Rossellini e Guy Maddin.

4- Star Wars: Episode III - Revenge of the SithAh, vá! É o nascimento do Darth Vader, porra! E quem nunca foi numa pré-estréia de Star Wars não sabe o que é viver.

5- Beijos e Tiros (Kiss Kiss Bang Bang)Você pega os clichês mais podreiras que assolaram os policiais de ação por décadas, transforma numa sátira incrível e coloca o Robert Downey Jr para segurar as pontas. Tiro certeiro.

Real melhor filme do ano: Marcas da Violência (A History of Violence)

www.serialit.com

]]> http://haikutheater.wordpress.com/?p=297 Wed, 06 Aug 2008 15:05:35 +0000 dju316 http://haikutheater.wordpress.com/?p=297 The downward spiral
of a misfit obsessed with
New York's violence.

Check the top 10 winners on the HUGO Create website or on Facebook.

Here is the piece:

My favorite fighting scene is when Jake vs Sugar Ray Robinson. They fought so many times, until pride is considered more important to Jake than winning the match. On on particular match, Jake was in losing end, but at the last round, even though Robinson smashed Jake's face (you can see the blood is all over his face), Jake held on to the rope, and never go down. After the match is over (won by Robinson), Jake approach him and said "you'll never bring me down".......

This movie is certainly ranked top in my lists. So if you like to watch drama, with many twists, as well as "brutal" fighting scene, this movie is the one to look for.

Title : Raging Bull (1980)
Genre : Drama
Time : 2hr 12mins
Tomatometer : 98% (52 reviewers)
My rating : 9/10

Per capire l'importanza del film, basti pensare che è uno dei soli tre film che sono stati conservati nella Biblioteca del Congresso degli Stati Uniti al loro primo anno di uscita, è considerato il miglior film degli anni '80, il miglior film sportivo in assoluto ed uno dei più grandi film di sempre.

Vi proponiamo i titoli di testa che, a mio avviso, ritengo tra i migliori della storia del cinema, grazie anche alla musica tratta dalla Cavalleria Rusticana di Pietro Mascagni.

Qualcuno di voi ebbe la fortuna di vederlo al cinema al tempo? Quali emozioni vi ha dato e vi dà ancora oggi?

Martin Scorsese's documentary about The Rolling Stones, Shine a Light, is now available on DVD.  Read this review to find out what song Mick and Keith didn't like singing because it was "embarrassing" and listen to a couple downloads from the film.

Though it opens with about 10 minutes of setup, it's a beautifully shot concert film, not a documentary, and this concert is what Stones fans should want, expect and love. Many of the hits are there, along with some choice album tracks, and the DVD includes four extra songs, one of which is the neglected but potent Undercover of the Night.

That said, the Stones have rolled on and on for so long that seeing them yet again, and hearing Jumpin' Jack Flash for the zillionth time, is a bit of a rerun. Sure, it's great music, but there's nothing revelatory or truly spontaneous about it. Seeing and hearing much the same band do much the same show, no matter how well they do it, is more about a revered band's ability to live up to its reputation.

That includes a bad-boy irreverence that's branded this band from the start, even though singer Mick Jagger is the most practical of businessmen at heart. And that unruliness prevails in the opening segment, as Scorsese valiantly tries to plan his shoot at New York's intimate Beacon Theatre, though Mick and the boys won't deign to give him a set list -- until moments before the show starts. Those rock 'n' rollers! It may be a bit staged, but it's fun. And the glad-handing intro by Bill Clinton is delightfully ironic. Yes, when I think of the Stones, I think of environmentalists. Riiight.

It's also nice to see a mix of more fresh-faced stars (Jack White III, Christina Aguilera) alongside Keith Richards' craggiest of rock faces. But Keith -- the only Stone I've met in person -- you know I love you. And you should sing more! (Now you really know I love him.)

In all, Shine a Light is a grand time with guys who are the grandfathers of trock. Lord knows they've been around long enough -- yet still seem joyful about it, rather than going through the paces. Guess that's why Bill Wyman quit -- he lost the joy. Happily, Mick, Keith, Charlie and Ron have not. Thanks, guys. And thanks Marty.

Akira Kurosawa’s beautifully lyrical and spectacular Dreams is based more on imagery than dialogue, but it still contains an incredible amount of broad ideas and striking poetry. The film consists of several dreams experienced by Kurosawa throughout his lifetime. The broader truth contained in the dreams he brings to life reveals the heart of the legendary filmmaker and shows an imagination that is unrivalled, even among the true film greats.

Dreams is not a film that can simply be dissected and partitioned into various categories. It is a deeply profound set of visions, some puzzling and some magical, that comprise a free form journey through the mind of Kurosawa. It is interesting to note that Dreams was released in 1990, amid a storm of Hollywood actioners and fart jokes that would likely sweep right over the beautiful poetry of the master without many taking notice. But Kurosawa, ever defiant, wouldn’t simply make a movie to fall in line. He was eighty years old at the time he decided to reveal his innermost thoughts to the world.

The cast of Dreams is not overly important, as this is not a film about acting or admiring performances. It is a film about art and imagination. Kurosawa utilizes free form filmmaking here, telling his story segments without much rhyme or reason. Often considered a parade of images, Dreams is a tapestry of metaphors, puzzles, and delightful games. The trickery of Kurosawa’s mind manifests itself in the fox weddings and snow blizzards in the film, making for a wonderful treat for the patient, thoughtful filmgoer.

A scene by scene exposition doesn’t do this film justice. It simply must be experienced as a whole, taking in by a dreamer, and processed through a vigorous imagination. Cohesion is not important, nor is precision. Instead, Kurosawa’s window to the soul is all about the meandering soul of filmmaking. For many, this approach will be boring and tedious. For Kurosawa’s fans, however, this is a necessary element to appreciating the master and his career. It is almost a pilgrimage.

The direction is, of course, beautiful and steeped in colour and majesty. There are moments, such as when the nuclear explosion brings down Mount Fuji, that show a greater purpose. Indeed, Kurosawa’s gorgeous filmmaking is focused on nature and on our betrayal of it. He, wiser than us, saw the world in ruins as we now debate reality. Kurosawa’s attention to natural law, natural order, and the wilderness is something we should be envious of, something we should learn from. There is no confliction when it comes to his descriptions of nature, the beasts of the world, and what we must do.

Kurosawa’s Dreams deserve to be examined, pulled apart, and experienced by trained eyes. It’s no coincidence that the likes of George Lucas and Steven Spielberg would admire the man. And it’s no accident that Martin Scorsese stars in Dreams as Vincent Van Gogh. This isn’t simply art for art’s sake. It is so much more. It is, quite literally, what it feels like to dream out loud.

9/10

1960s super-group The Rolling Stones are back in the headlines again, this time for signing a new label deal with Vivendi’s Universal Music. This long-term deal will see the Stones releasing new material on Universal’s label Polydor.

Although the Stones were courted by recent challenger Live Nation, the aging rockers decided to go with the world’s biggest music company. The same label that released the soundtrack to Martin Scorsese’s “Shine a Light,” which featured live concert footage from a Stones show at the Beacon Theatre, Universal now holds the worldwide rights to release Stones material.

I can’t believe these guys are still rocking after all this time. It just goes to show that there is life after the party.

Brad Pitt is the star attraction of the movie but, as the full title suggests, the main focus is on the cowardly act of betrayal by Robert Ford. Ford is played by Casey Affleck who is kid brother to Ben and looks like a young David Byrne. He is perfect in the role of nerdy wannabe outlaw.

Anyone expecting an action packed yarn will be disappointed. You only have to hear the score by Nick Cave & Warren Ellis to get the languid and melancholy mood. By the time we see what remains of the James Gang, they are a spent force. After one last hold up the only way is down.

The brothers Frank (Sam Shepherd) and Jesse are estranged and the law is tightening its net. Jesse at 34 is a shadow of his former self and no longer the dynamic man of action whose daring deeds led to his mythical status and notoriety.

Usually I hate the use of a voiceover for anything more than an initial scene setting. In Scorsese's Goodfellas and Casino, for example, this device struck me as intrusive and superfluous. In The Assassination of Jesse James however the poetic language , beautifully spoken by Scottish actor Hugh Ross, adds to the narrative of this elegiac western.

The screenplay as a whole, from the novel by Ron Hansen, is superbly judged as is the cinematography by Roger Deakens which gives the epic landscape a strangely claustrophobic atmosphere.

It's a shade too long and the cameo performance by Nick Cave singing the Ballad of Jesse James looks out of place but overall this is a remarkably assured directorial work by Andrew Dominik. He recognises that you can create dramatic tension in a movie even when you know exactly how it will end.

Strange to think, but Mick Jagger (Rolling Stones's leader) is a retired. 65 years old yesterday,he will receive a state pension of 91 pounds weekly, but he will obtain benefits not before being 70 years old.
In the meantime he is still on stage .... and he is one of the protagonists of 'Shine a Light ', a rock documentary directed by Martin Scorsese.

Why Did You Pick That?

'Cause it's Mel Brooks AND Madeline Kahn; an excellent combination of awesome.

2. George Washington (Dir. David Gordon Green)

Why Did You Pick That?

After watching All the Real Girls, I've been wanting to watch more of Green's films.

3. My Voyage to Italy (Dir. Martin Scorsese)

Why Did You Pick That?

Martin Scorsese talking about films that have impacted him? Count me in!

1980: Caddyshack 

In a pretty strong year for movies, the irreverent slice of life at Bushwood Country Club comes out on top. It's still eminently watchable (and eminently quotable), and I'll give it a slight push for pure enjoyment over runner-up Raging Bull.

Honorable Mention(s): Raging Bull, Airplane!, The Empire Strikes Back, The Shining
Dishonorable Mention(s): The Blue Lagoon

1981: Raiders of the Lost Ark

In a year with fewer of my favorites, the first (and still best) Indiana Jones foray comes out on top.

HM: Superman II, Stripes
DM: Nothing else too great this year, but nothing too offensive (that I've seen anyway) either.

1982: Fast Times at Ridgemont High

Probably the best film in both Amy Heckerling's and Cameron Crowe's oeuvre, Fast Times handles teenage life with equal parts crudeness and sophistication, which is why it's the definitive cinematic statement on the topic, even today.

HM: E.T.: The Extra Terrestrial
DM: Airplane II: The Sequel

1983: The King of Comedy

Features a darkly comic Robert De Niro (back when he was method), and a deadly serious Jerry Lewis, playing against type. Scorsese explores celebrity obsession at a time when it was just beginning to be a hot button issue.

HM: Return of the Jedi, Risky Business, Trading Places, National Lampoon's Vacation
DM: The Big Chill

1984: This is Spinal Tap

A top contender for funniest movie ever made, in a banner year for mainstream comedy.

HM: Ghostbusters, The Karate Kid, Broadway Danny Rose, Sixteen Candles, The Muppets Take Manhattan, Amadeus
DM: Footloose, Police Academy

1985: Back to the Future

Sure, the special effects don't really hold up, but it's hard to think of a movie from the 1980s that's more iconic of its era. This despite the fact that most of the film takes place in 1955. Even on the hundredth viewing, I still root for Marty to make it to the clock tower in time, as if I don't already know the ending.

HM: Pee Wee's Big Adventure, Rocky IV
DM: Mask
 

1986: Hoosiers

A year with some good films, but no great ones. Hoosiers stands in the upper echelon of sports movies, an ultimate David and Goliath story that manages not to be trite, despite throwing out conventions we've seen a million times before.

HM: Ferris Bueller's Day Off, An American Tail, Platoon, Stand By Me
DM: The Money Pit

1987: Raising Arizona

The Coens' first true comedy established an offbeat sensibility that would later be perfected in Fargo and The Big Lebowski. Edges out the mainstream but underrated dramedy Broadcast News.

HM: Broadcast News, The Princess Bride, Full Metal Jacket, The Lost Boys
DM:  Innerspace, Leonard Part 6

1988: Eight Men Out

Not quite the masterpiece it could have been, D.B. Sweeney, John Cusack, David Straithairn, et al. join a fine ensemble cast in adapting Eliot Asinof's fine book about the 1919 Chicago White Sox. The players are portrayed as flawed individuals in a desperate situation in a film that brings life to the most famous black mark in baseball history.

HM: Die Hard, Dirty Rotten Scoundrels, The Naked Gun: From the Files of Police Squad!
DM: Action Jackson

1989: Roger and Me

It's hard to remember today, but the Michael Moore of Roger and Me was much more right than self-righteous, a balance that he's seemed to forget in latter days, when he has a tendency to overplay his hand. We can also thank this film for the excess of first person documentaries that litter the cinematic landscape. Though as Roger and Me shows, when something gets imitated, it usually means that the original was onto something.

HM: Batman, When Harry Met Sally..., Parenthood, Major League, Field of Dreams, Il Nuovo Cinema Paradiso
DM: No Holds Barred, Turner and Hooch

1990: Goodfellas

Martin Scorsese brought the gangster genre into the modern age, using long takes that brought the viewer into the action, and period music to establish time, mood, and tension. I don't think I'll ever be able to separate the piano coda from "Layla" and the crescendo the film reaches while it plays. Here, Scorsese marries a subculture to the culture at large, using only his camera and a set of speakers.

HM: My Blue Heaven, Edward Scissorhands, The Grifters, House Party
DM: Rocky V, Mr. Destiny

1991: Defending Your Life

The protagonist (Albert Brooks) dies in the first minute, and must rely on incompetent attorney Rip Torn to defend his indiscretions and move him on to the next life. A great showcase for the sharp comedy of Brooks, who also wrote and directed.

HM: Barton Fink, The Silence of the Lambs, L.A. Story, Terminator 2: Judgment Day
DM: King Ralph 

1992: Reservoir Dogs

In a fine catalog, Reservoir Dogs still stands up as Quentin Tarantino's most realized vision, from an auteur whose extraordinary vision sometimes exceeds his reach. Limited by his budget, the young filmmaker delivers a shoot-em-up pulp crime story perfectly cast and professionally executed.

HM: Wayne's World, The Player, Glengarry Glen Ross, Aladdin
DM: Ladybugs, Stop! Or My Mom Will Shoot 

1993: Groundhog Day

Probably the first film to realize the true curmudgeonly potential of late period Bill Murray, revealed expertly by director (and longtime Murray collaborator) Harold Ramis. 

HM: Army of Darkness, Dazed and Confused, Philadelphia, A Bronx Tale
DM: Judgment Night

1994: Clerks.

With the way he's tarnished his legacy over his past several films, it's easy to forget that during the mid-90s Kevin Smith was something of a low-budget wunderkind. Filmed for $10,000.00 (the proceeds garnered from maxing out credit cards and selling his comic book collection), Smith gave false hope to any film school reject hoping to make it big. The dream of making the next Clerks didn't work out for many of them, and, subsequently, didn't really work out for Smith either.

HM: Pulp Fiction, Forrest Gump, Quiz Show, The Hudsucker Proxy
DM: Last Action Hero, It's Pat

1995: The Usual Suspects

Though it admittedly wouldn't be much without the twist ending, Kevin Spacey's standout performance highlights an otherwise worthy ensemble cast in the 1990s' finest caper film.

HM: Kicking and Screaming (Noah Baumbach), Se7en, The Basketball Diaries, Toy Story, Clueless
DM: Dangerous Minds, Nine Months

1996: Fargo

Compared to Raising Arizona, Joel and Ethan Coen played this one a little closer to the vest. Some of the comedic elements are still a little screwball, but they hide under the surface this time around, letting the characters be amusing in spite of the crime plot, not because of it.

HM: The Cable Guy, Kingpin, Trainspotting
DM: Mars Attacks!

1997: Boogie Nights

The first major release for P.T. Anderson and the first starring vehicle for Mark Wahlberg. In his ensemble tale about the Southern California porn industry, Anderson reveals a style derivative of his cinematic heroes, yet altogether singular. The cast, comprised mostly of Anderson's own troupe of actors (William H. Macy, Philip Baker Hall, Julianne Moore, et al.), excels all around. The obvious choice in a year full of excellent films (see below).

HM: Waiting for Guffman, L.A. Confidential, Austin Powers: International Man of Mystery, Grosse Point Blank, Donnie Brasco
DM: Bean, Fools Rush In

1998: Rushmore

By this point, the curmudgeonly Bill Murray era was in full swing, and Wes Anderson really put that persona on the map in Rushmore. Still, Murray is outshined by a young Jason Schwartzmann, who portrays Max Fischer with just the right balance of faux sophistication and emotional childishness. Though it's Anderson's second film, Rushmore marks the real arrival of a career that's weathered universal praise, the backlash, and the backlash to the backlash.

HM: The Big Lebowski, American History X, Fear and Loathing in Las Vegas, Lock, Stock and Two Smoking Barrels, Saving Private Ryan
DM: Very Bad Things

1999: (Tie) Office Space and American Beauty

Forced into a decision on my favorite 1999 film, i have chosen not to make one. (Though, according to Canadian power trio Rush, I still have made a choice.) The best comedy and the best drama of their year, time has not been kind to either. American Beauty has been ruined by my own aging and realization of its trite message, while Office Space has been ruined by endless repetition of its best gags. Both are about grown men questioning the routines their lives have worn into them, a predicament with which everyone is at some time familiar. I wish I could see both films again with my 1999 eyes.

HM: Magnolia, Being John Malkovitch, Fight Club, The Matrix, South Park: Bigger, Longer and Uncut, Election
DM: The Big Kahuna, EDtv

2000: High Fidelity

John Cusack's emotionally stunted record collector was really the perfect character for me in my college years. High Fidelity is the kind of harmless, satisfying trifle I'll reach for when I hit my midlife crisis, just to remember that it's all going to be OK.

HM: Almost Famous, Snatch, O Brother, Where Art Thou?, Traffic
DM: Dude, Where's My Car?, Pay It Forward

2001: The Royal Tenenbaums

Following up Rushmore, Wes Anderson proved he could handle a wide ensemble and all the plot underpinnings that entailed, without leaving any stones unturned. He also proved himself as a rare filmmaker who can handle an unexpectedly large budget without losing his original vision, and coax just the right tone from actors as diverse as Anjelica Houston and Ben Stiller.

HM: Wet Hot American Summer, Zoolander, Oceans Eleven, Freddie Got Fingered, Donnie Darko
DM: Corky Romano, A Beautiful Mind

2002: Spider-Man

Immersed as we are in the "Comic Book Summer," let's not forget about Sam Raimi's Spider-Man adaptation, which took forever to get to the big screen, and proved to be worth the wait. There have been a slew of good comic book films over the years, but this one stands out due to the Raimi touch, using the same offbeat conventions Raimi employed in his Evil Dead films on a scale about a thousand times as large.

HM: Adaptation., Super Troopers, One Hour Photo, Punch-Drunk Love, Death to Smoochy
DM: Eight Crazy Nights, Like Mike, Juwanna Mann

2003: The Lord of the Rings: The Return of the King

Like the Academy did, when I recognize Return of the King, I'm recognizing the whole achievement. Though it falters in places, Peter Jackson's saga managed to bring Tolkien's tale to the screen in a way completely unimaginable before. The trilogy was made at the right time, with the right cast and the right technology, and Return of the King is the best singular film of the three.

HM: Lost in Translation, Elf, Bad Santa, American Splendor, A Mighty Wind, Old School
DM: From Justin to Kelly, Gigli

2004: Anchorman: The Legend of Ron Burgundy

Rightfully so, Scorsese's The Aviator was the most critically acclaimed film of 2004, but no film of the year (and few films of the era) are as rewatchable as Anchorman. Bumbling idiot Ron Burgundy is the perfect voice for Will Ferrell; Paul Rudd, David Koechner and Steve Carell are his perfect goofball playmates, and Christina Applegate is his perfect foil. Ferrell has tried to catch the same lightning in a bottle, with varying success, ever since.

HM: The Aviator, Friday Night Lights, Harry Potter and the Prisoner of Azkaban, Kill Bill Vol. 2, Team America: World Police, Mean Girls
DM: Christmas With the Kranks, Garden State

2005: The Squid and the Whale

I'm still a little confused by Noah Baumbach's The Squid and the Whale, but I can't hold that against him. In fact, I praise him for it. It's a tribute to the director that his characters are so far removed from mainstream society, yet their plight resonates. What can we expect the aftermath of a ruptured family to look like, when that family was so nontraditional to begin with? The director seems to be as confused as his characters are, and that's a good thing. It means no reaction can be altogether unbelievable.

HM: Batman Begins, The 40-Year-Old Virgin, The Aristocrats, Harry Potter and the Goblet of Fire, Munich, Walk the Line, The Corpse Bride
DM: The Man, The Dukes of Hazzard 

2006: Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan

You can blame Sacha Baron Cohen for all the bad Borat impression you heard throughout 2006. But you can't blame him for exposing Americans for what we are: usually well meaning, often naive, and, sometimes, complete assholes.

HM: The Departed, Casino Royale, Marie-Antoinette, Little Miss Sunshine, Nacho Libre, Grandma's Boy
DM: Failure to Launch, Larry the Cable Guy: Health Inspector, The Pink Panther

2007: There Will Be Blood

A brilliant performance by Daniel Day-Lewis, a haunting Johnny Greenwood score, and a pitch perfect tale of greed and corruption during the turn of last century's oil boom. Day-Lewis plays a man who feels no emotion, who seeks money in lieu of the happiness he will never find. In maybe the best movie year of my lifetime, P.T. Anderson comes out of hiding and shoots his masterpiece.

HM: No Country for Old Men, Once, Ratatouille, Gone Baby Gone, Juno, The King of Kong, Sweeney Todd: The Demon Barber of Fleet Street, The Darjeeling Limited, Knocked Up, Superbad
DM: Epic Movie, I Now Pronounce You Chuck and Larry

2008 (So far): WALL-E

It may get knocked from the top spot before the year is out, but, as I've said before, it's the best of the year so far.

HM: Iron Man, Forgetting Sarah Marshall, Kung Fu Panda
DM: The Happening, Made of Honor, Speed Racer, Meet Dave

If you're keeping score, that's two each for Martin Scorsese, P.T. Anderson, Wes Anderson, the Coen brothers, and, um, Harold Ramis.

So please, if you have an afternoon to kill, try this exercise. It's fun!

Post your results, or a link to them, in the comments.

"I heard they were inviting Martin Scorsese to Cinemanila. He’s only 10% sure of attending. I’m his biggest fan so can you help me get him over here? It was cool when Tarantino came over but Scorsese would be cooler. Come on just write on this blog and ask Marty to come here! Hopefully if he sees a lot of entries he’ll be 90% sure. Send pictures or whatever to invite him. Thanks you can email me pictures at martyinmanila@gmail.com"

note to self: not such a great idea when using a dog as prop for this project. especially if the dog is sleepy and it's 11 in the evening.

update - YAY!

Un documentario concerto che racconta quello che generalmente non si vede e che si trova dietro le quinte di uno spettacolo. Un concerto per beneficenza intervallato da interviste ai componenti della band e da documenti storici dove Mick Jagger, Keith Richards, Ron Wood e Charlie Watts appaiono giovanissimi e alle prime armi...

Due ore di spettacolo che volano via a suon di grandi successi e di Musica...due ore...peccato passino così in fretta!

Un breve recensione è presente a questo link: Recensione di "Rolling Stones - Shine a Light" di Martin Scorsese.

This was my most highly anticipated movie of the summer. It was "The Departed" starring Batman and The Joker. I went with 2 people a couple of years older than me and 4 teens (14, 14, 15, and 15)

The teens' reviews: "Boring", "I thought it would have been better", "Loved it", and "FN awesome".

My review: Pretty Good.

Heath Ledger as the joker turned in a good performance. He was the highlight of the film. The blazing reviews he has been getting for his acting job is based on these factors: 1) He did a GOOD job. 2) The movie is very slowly paced so his under-the-top performance is a jolt in a slow paced movie. 3) Post Death Honors 4) All the cool lines in the movie went to the Joker. (They didn't give Morgan Freeman, Gary Oldman, Aaron Eckhardt, or Michael Caine anything interesting to say or do. I don't remember 1 thing Batman said.) The Joker's magic trick is CLASSIC.

I picked up on several of the inspirations for Ledger's Joker. The obsessive annoying lip licking is straight from Hannibal Lector when he licked at Jodie Foster. The punk kid act is straight from A Clockwork Orange's Alex as played by Malcolm McDowell. There were a couple of forced Nicholson's Joker laughs. He also very much reminded me of Jigsaw puppet from Saw. So for me it was like listening to a really good a Beastie Boys song from "Paul's Boutique" where all the samples form something cool but you still know that it's really a lot of other people's work that's been incorporated. Kinda of an Andy Warhol painting of a soup can or Marilyn Monroe. No matter how many people say how original it is, it's still not a Michelangelo.

So if The Academy wants to give him a posthumous Oscar that he maybe should have earned for Brokeback Mountain, who am I to protest. But, this was not in the same class as Jack Nicholson's joker by any stretch of the imagination.  Had Jack Nicholson reprised his role with this script it would have been truly something magical.

The Rest of the Movie: I'm tired of the self conscious superhero looking for an excuse to quit storyline. But, I enjoyed the movie with all of its flaws. I would watch it again. To me it was as if they took the movie, "The Departed" and added in Batman and The Joker. And I really liked The Departed. I'm going to break it out on DVD asap as soon as I watch Jack Nicholson, Michael Keaton, and Tim Burton's more entertaining Batman on DVD. Maybe I'll watch them in picture in picture.

I do recommend the movie. It is pretty good. Better than The Incredible Hulk (who also played that get me out of here superhero role). Not as fun as Iron Man but with a much better villain. Not as good as Wanted with Angelina Jolie.

UPDATE: Quote from MSNBC review about Heath Ledger's performance: "Nothing that Jack Nicholson, much less Cesar Romero, created even comes close." That is utter nonsense. It's a journalistic crime to insult and belittle the all-time best superhero villain performance just for the sake of hyperbole. Jack Nicholson has 3 Academy Awards (Oscars) for Best Actor and another 9 nominations. He was robbed of an Oscar for his take as the Joker in Batman but did win a Golden Globe for Best Leading Actor for Batman, a BAFTA, a Saturn, and various other awards. It's a fallacious argument to tear one person down in order to build another up. How come it isn't reasonable to say Ledger's performance stands up to Nicholson's?

Top! do Leitor:

Franc1968

Eis uma década extraordinária. Pensei em fazer uma lista de dez filmes por ano, mas isso seria encher a paciência dos leitores do blog… Listarei dez e depois irei acrescentando um ou outro só por menção honrosa:

01. O poderoso chefão I e II, de Francis Ford Coppola (Francis For Coppola, 1972/1973)
02. Maratona da morte (John Schlesinger, 1976)
03. O tambor (Volker Schlondorff, 1979)
04. Monty Python em busca do cálice sagrado (Terry Gilliam & Terry Jones, 1975)
05. Operação França (William Friedkin, 1971)
06. Tubarão (Steven Spielberg, 1975)
07. Sob o domínio do medo (Sam Peckinpah, 1971)
08. O homem de palha (Robin Hardy, 1973)
09. Josey Wales, o fora da lei (Clint Eastwood, 1976)
10. Grease, nos tempos da brilhantina (Randal Kleiser, 1978)

Tops da Equipe!

Adney Silva

Muito se fala que os anos 80 podem ser representados pelos "filmes-pipoca", mas foi na década de 70 que os dois maiores responsáveis por esse boom, George Lucas e Steven Spielberg, mostraram o seu talento para o mundo. Só isso já vale para destacar a década. Além disso, ainda tivemos a obra-prima dos filmes de gangsters, um peckinpah explosivo na direção com um dos filmes mais controversos do cinema, Kubrick fazendo história e polêmica mais uma vez (para variar), Sidney Lumet mostrando a podridão da luta pela audiência na TV, Scorsese endoidecendo junto com um taxista nas ruas de Nova York, um bando de ingleses malucos subvertendo a história do cálice sagrado e Polanski trazendo um sensacional noir a cores. Ufa, que década!

01. O Poderoso Chefão - Parte II (Francis Ford Coppola, 1973)
02. Sob o Domínio do Medo (Sam Peckinpah, 1971)
03. Laranja Mecânica (Stanley Kubrick, 1971)
04. Rede de Intrigas (Sidney Lumet, 1975)
05. Quando Explode a Vingança (Sergio Leone, 1974)
06. Encurralado (Steven Spielberg, 1971)
07. Taxi Driver (Martin Scorsese, 1976)
08. Monty Phyton e o Cálice Sagrado (Terry Gillian, 1975)
09. Chinatown (Roman Polanski, 1971)
10. Star Wars - Uma Nova Esperança (George Lucas, 1977)

Daniel Dalpizzolo

Perde-se muita coisa em uma lista tão pequena como um top 10, quanto mais numa década que briga - e com larga vantagem - pelo posto de mais rica do cinema. Tanta coisa ficou de fora, de De Palma a Ferrara, de Polanski a Buñuel, entre muitos outros, que se eu fosse parar pra fazer menções provavelmente construiria um top 50 só de filmes com qualidades tão grandes quanto às das minhas escolhas finais (porém jamais definitivas), o que não caberia a um comentário tão pequeno quanto esse. A seleção mais difícil até o momento.

01. Corrida Sem Fim (Monte Hellman, 1971)
02. Cada Um Vive Como Quer (Bob Rafelson, 1970)
03. A Primeira Noite de Tranqüilidade (Valerio Zurlini, 1973)
04. Profissão: Repórter (Michelangelo Antonioni, 1975)
05. O Espírito da Colméia (Victor Erice, 1973)
06. Tragam-me a Cabeça de Alfredo Garcia (Sam Peckinpah, 1975)
07. Verdades e Mentiras (Orson Welles, 1975)
08. Noivo Neurótico, Noiva Nervosa (Woody Allen, 1977)
09. Uma Mulher Sob Influência (John Cassavetes, 1975)
10. O Discreto Charme da Burguesia (Luis Buñuel, 1972)

Djonata Ramos

Grande década. Temos Coppola dirigindo o melhor filme de todos os tempos, Kubrick em seu melhor filme, assim como Spielberg iniciando sua brilhante carreira já com os dois pés no peito da gente. De Palma e Friedkin nos entregam dois dos melhores filmes do gênero desde sempre; Forman faz seu segundo melhor trabalho com um Nicholson fora de série, e por fim, Allen numa comédia sensacionalmente ácida e divertida, Scorsese e Lucas sem esperança nenhuma nessa sociedade. o mais interessante é ver que praticamente todos esses filmes são as obras máximas de seus realizadores.

01. O Poderoso Chefão (Francis Ford Coppola, 1972)
02. Laranja Mecânica (Stanley Kubrick, 1971)
03. Taxi Driver (Martin Scorsese, 1976)
04. Poderoso Chefão - Parte II (Francis Ford Coppola, 1973)
05. Manhattan (Woody Allen, 1979)
06. O Exorcista (William Friedklin, 1973)
07. Um Estranho no Ninho (Milos Forman, 1975)
08. Carrie: A Estranha (Brian De Palma, 1976)
09. THX 1138 (George Lucas, 1971)
10. Encurralado (Steven Spielberg, 1971)

Jaílton Rocha

Difícil não ver a importância da década de 70 para o cinema. Época onde reside os grandes clássicos, obras máximas como Laranja Mecânica, Poderoso Chefão, Taxi Driver, e onde o cinema-pipoca ganhou um up com a sucesso de Star Wars. Acabou ditando a regra nos filmes que surgiram nas décadas seguintes.

01. Laranja Mecânica (Stanley Kubrick, 1971)
02. Frenesi (Alfred Hitchcock, 1972)
03. O Poderoso Chefão (Francis Ford Coppola, 1972)
04. Alien – O Oitavo Passageiro (Ridley Scott, 1979)
05. Taxi Driver (Martin Scorsese, 1976)
06. Star Wars Episódio IV – Uma Nova Esperança (George Lucas, 1977)
07. Halloween – A Noite do Terror (John Carpenter, 1978)
08. Contatos Imediatos de Terceiro Grau (Steven Spielberg, 1977)
09. Perseguidor Implacável (Don Siegel, 1971)
10. Um Estranho no Ninho (Milos Forman, 1975)

Luis Henrique Boaventura

Caralho, que década. E eu ainda estou completamente drogado pelo Visconti e o Resnais... Todos os dez são obras-primas. Gostaria de dar ênfase a alguns, mas não tem como. E ainda quero rever Barry Lyndon, é possível que suba algumas posições, mesmo que olhando assim eu não vejo pra onde ele possa ir. Menções aos Coppolas, a Carrie, Gritos e Sussurros, Suspiria e A Vida de Brian.

01. Prelúdio Para Matar (Dario Argento, 1975)
02. Providence (Alain Resnais, 1977)
03. Taxi Driver (Martin Scorsese, 1976)
04. Laranja Mecânica (Stanley Kubrick, 1971)
05. Eraserhead (David Lynch, 1977)
06. Sonata de Outono (Ingmar Bergman, 1978)
07. Morte em Veneza (Luchino Visconti, 1971)
08. Barry Lyndon (Stanley Kubrick, 1975)
09. Chinatown (Roman Polansky, 1974)
10. Quando Explode a Vingança (Sergio Leone, 1971)

Rodrigo Jordão

Década da discoteca, das calças boca de sino, dos cavanhaques a la Seu Madruga, das pornochanchadas e da morte do rock and roll. O que esperar de uma década com características tão toscas? Confiram o top abaixo, e de preferencia assistam aos filmes citados, e tirem suas conclusões próprias.

01. Laranja Mecânica (Stanley Kubrick, 1971)
02. Um Estranho no Ninho (Milos Forman, 1975)
03. Taxi Driver (Martin Scorcese, 1976)
04. Alien (Ridley Scott, 1979)
05. Encurralado (Steven Spielberg, 1972)
06. O Exorcista (Willian Friedkin, 1973)
07. O Poderoso Chefão (F. Ford Copolla, 1972)
08. Barry Lyndon (Stanley Kubrick, 1975)
09. Halloween (John Carpenter, 1978)
10. O Franco-Atirador (Michael Cimino, 1978)

Cassius Abreu

Mesmo que não gostasse de tantos filmes da década - e ela em si -, já se tem de reconhecer que os anos 70 foram o máximo para o cinema, primeiro porque está intermediando os de 60 - com as grandes revoltas - e a de 80 - da consagração do capitalismo -; e segundo porque teve dos melhores lançamentos de cineastas novos ou outros consagrando-se derradeiramente. Seraim inúmeras as menções aqui, mas fica o registro daquele que é o maior nome alemão dos que conheço e saiu do top no último dia: Werner Herzog fez Aguirre, Nosferatu e O Enigma de Kaspar Hauser em pouco mais de oito anos. Por fim, as três primeiras posições mostram o maior - e talvez único - erro absurdo do Oscar na categoria principal naquela década.

01. Laranja Mecânica (Stanley Kubrick, 1971)
02. Morte em Veneza (Luchino Visconti, 1971)
03. Ensina-Me a Viver (Hal Ashby, 1971)
04. O Poderoso Chefão: Parte II (Francis Ford Coppola, 1974)
05. Barry Lyndon (Stanley Kubrick, 1975)
06. O Poderoso Chefão (Francis Ford Coppola, 1972)
07. Um Estranho no Ninho (Milos Forman, 1975)
08. Gritos e Sussurros (Ingmar Bergman, 1972)
09. O Franco-Atirador (Michael Cimino, 1978)
10. Taxi Driver (Martin Scorsese, 1976)

Vinícius Laurindo

Um dos mais importantes símbolos do que o cinema tem a oferecer, a década de 70 é facilmente sustentada como um lapso temporal de muito bom gosto cinematográfico por apenas dois ou três nomes - por isso faço questão de não esconder que alguns realizadores são indubitavelmente figurinhas repetidas ao longo da lista. Saber que um dos dois filmes mais amargos do mundo, a maior jornada de fundo ancorado no sci-fi, o melhor Western de que se tem notícia e o mais impressionante trabalho de climatização - só para ficarmos na superfície - estão reunidos nesse período de dez anos já transmite o recado direitinho.

01. Cada Um Vive Como Quer (Bob Rafelson, 1970)
02. Stalker (Andrei Tarkovski, 1979)
03. Quando os Homens São Homens (Robert Altman, 1971)
04. Aguirre (Werner Herzog, 1972)
05. Profissão: Repórter (Michelangelo Antonioni, 1975)
06. Sonata de Outono (Ingmar Bergman, 1978)
07. Noivo Neurótico, Noiva Nervosa (Woody Allen, 1977)
08. O Enigma de Kaspar Hauser (Werner Herzog, 1974)
09. Gritos e Sussurros (Ingmar Bergman, 1972)
10. Barry Lyndon (Stanley Kubrick, 1975)

Thiago Macêdo Correia

A década dos dois melhores filmes do mundo, do melhor do cinema americano, da novidade do nascimento dos maiores gênios contemporâneos ainda vivos (De Palma, Scorsese, Allen), da crueza das ruas, da dureza das almas. A década do cinema por si só.

01. Morte em Veneza (Luchino Visconti, 1971)
02. O Poderoso Chefão (Francis Ford Coppola, 1972)
03. Sonata de Outono (Ingmar Bergman, 1978)
04. Uma Mulher Sob Influência (John Cassavetes, 1975)
05. Manhattan (Woody Allen, 1979)
06. Laranja Mecânica (Stanley Kubrick, 1971)
07. Apocalipse Now (Francis Ford Coppola, 1979)
08. Taxi Driver (Martin Scorsese, 1976)
09. Quando os Homens São Homens (Robert Altman, 1971)
10. Verdades e Mentiras (Orson Welles, 1974)

Tem-se realizado, por estes dias, o habitual encontro, promovido pela Associação de Críticos de Televisão, entre a imprensa e as estações de televisão norte-americanas. Estes encontros são propícios à apresentação, por parte dos canais, das suas apostas a curto e médio prazo. É um resumo das principais novidades apresentadas pelas estações o que fazemos nesta série Projectos 2008/2009.

Primeiro as séries que a HBO tem em pré-produção e que conta estrear durante a próxima temporada, provavelmente no Verão de 2009. Uma comédia, com duração de meia hora, com o título Washingtonienne, baseada na blogger Jessica Cutler que escreveu sobre as suas aventuras sexuais com figuras políticas reais em Washington. A produção deverá arrancar no Outono e entre os produtores da série estará Sarah Jessica Parker.

Um novo drama está também a começar a ser trabalho por David Simon (criador de The Wire - A Escuta e da mini-série deste Verão na HBO Generation Kill). Chamar-se-à Treme e a sua principal temática serão as consequências do furacão Katrina.

Um outro drama, Boardwalk Express, do qual já tínhamos falado aqui, está também em desenvolvimento a pedido da HBO e, na sua equipa de produção, conta com nomes como os de Terence Winter (produtor executivo d'Os Sopranos), Martin Scorsese, Mark Wahlberg e Stephen Levinson (produtor executivo de Entourage - A Vedeta). O foco deste drama são os meandros do crime organizado em Atlantic City, nos anos 20.

Já para Setembro estão programadas as estreias da 5ª temporada de Entourage - A Vedeta e das novas True Blood e Little Britain USA. Por definir estão as estreias da novas temporadas de Em Tratamento, Big Love, Flight of the Conchords e Tell Me You Love Me. Confirmado está o regresso de Larry David e da sua Curb Your Enthusiasm - Calma Larry em 2009.

A HBO apresentou ainda as suas intenções fora da televisão, isto é o mesmo que dizer no cinema. Uma sequela do filme O Sexo e a Cidade e a continuação d'Os Sopranos no grande ecrã continua a ser hipóteses em cima da mesa. De fora está a possibilidade de haver um filme para televisão de Deadwood (que encerraria a trama).

Sabe-se que a HBO adquiriu ainda os direitos sobre o piloto Fat Sells, um drama familiar de uma hora passado no mundo da milionária industria dos suplementos alimentares. O argumento é de Gren Wells e a produção de Dave Broome e do galardoado Forest Whitaker.

A fechar aquela que deverá ser a cereja no topo do bolo para a HBO: a mini-série The Pacific, que deverá estrear no fim de 2009, principio de 2010, ambientada durante a Segunda Guerra Mundial e que tem como produtores executivos Steven Spielberg e Tom Hanks, que se haviam juntado anteriormente para a mini-série Irmãos de Armas.

HBO has always been at the forefront of the cable television industry, having aired groundbreaking shows such as The Sopranos and Sex in the City and they are continuing to push the boundaries with several new additions to their line-up of new shows.

The new shows feature a post-Katrina New Orleans drama from The Wire creator David Simon and a 1920s piece on the history of New Jersey by Oscar-winning director Martin Scorsese.

Treme, the dramatic story of the aftermath of Katrina and the road to recovery once again teams Simon with The Wire consulting producer Eric Overnyer.  The two produced phenomenal work on The Wire, so fans can expect a grittiy, heartfelt look at the situation in New Orleans.

Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City marks Scorsese’s first foray into scripted television. HBO is hedging its bets with this production, partnering the legendary director with “Sorpanos” writer-producer Terrence Winters.

In addition to the two new shows, HBO announced that Big Love will return for another season, Chris Rock will do his fifth Stand-up show, and Larry David will do another season of Curb Your Enthusiasm.

HBO has been in a slow bleed since Sex & the City and The Sopranos went off the air. Entourage is the network's only "hit" program left, as all their much-hyped new shows (Flight of the Concords, Tell Me You Love Me, In Treatment, John from Cincinnati, et al) have pretty much flopped.

Plus, rival network Showtime has exploded on the scene in recent years with a slew of high-quality programs like Weeds, Dexter, Californication, Brotherhood and The Tudors, all of which are well written and well acted and have had the result of making Showtime a much better place for premium TV shows as of late.*

Well, HBO is now seeking salvation. And they think Martin Scorsese and David Simon (creator of The Wire) can make it happen for them.

Scorsese is teaming with longtime Sopranos writer-producer Terence Winter to produce a series pilot based on the book "Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City." The project is said to be set in the 1920s and will begin shooting in January.

The second project is a drama set in the aftermath of Hurricane Katrina-ravaged New Orleans. David Simon is working with Eric Overmyer (also a Wire veteran) and the pilot is titled "Treme." (Look for this one to be immensely heartbreaking and slanted heavily toward the many ways the government failed the people of NOLA).

But a third HBO project looks equally intriguing. It's called The Washingtonienne, a D.C.-set comedy based on Jessica Cutler's scandalous real-life account of having sex with some of Capitol Hill's biggest power brokers. The show, if picked up, would be executive produced by Sex and the City star Sarah Jessica Parker.

All three look promising from where I stand. Agree?

Related:

ANYONE OUT THERE WANT MORE SEX?

JASON SCHWARTZMEN & JONATHAN AMES TEAM UP FOR HBO PILOT

COULD IT BE? "THE WIRE" TO FINALLY RECEIVE AN EMMY?

ALWAYS IN THE MOOD FOR MOODY

* The Wire was HBO's greatest show but it never drew big ratings for the network. Add to that, whenever HBO did have a well written, quality program such as Rome or Deadwood, the network went ahead and canceled it, prematurely. Even Entourage, which has pretty well made its mark on pop culture ("Let's Hug It Out, Bitch") is still a ratings loser when compared with either Sex or The Sopranos. HBO needs something new and big in the worst way.

Un film di Martin Scorsese. Con James Woods, Sharon Stone, Robert De Niro, Joe Pesci, Kevin Pollak, Alan King, Melissa Prophet, Frank Adonis. Genere Drammatico, colore 182 minuti. - Produzione USA 1995.

www.hbo.com

]]> http://vamosfalarmal.wordpress.com/?p=44 Thu, 10 Jul 2008 20:09:55 +0000 naorepito http://vamosfalarmal.wordpress.com/?p=44 Beleza, talvez o ignorante seja eu. Mas provavelmente não.

Dizem que contra fatos não há argumentos. Complemento afirmando que contra propagandas ruins, não há muito o que dizer. Elas são ruins e ponto. Em umas posso criticar a fonte miúda ou ilegível, em outras a falta de idéias. Isso quando não são completamente amadoras. Nada além de ruins.

Podem dizer ainda que existem estilos. Por exemplo, a maioria das músicas do Elvis são parecidas e os filmes do Scorsese são quase todos iguais. Ele só trocou o Robert De Niro pelo Leonardo di Caprio em suas produções mais recentes.

Entretanto, eles são artistas.

As pessoas vão ao cinema ou compram/baixam  músicas simplesmente pela obra dos artistas. Com propaganda não é assim. A propaganda deve ser a serviço do cliente, sempre. Não adianta descobrirem um estilo "bacana" e fazer sempre igual, seja qual for o produto, o público ou a meta.

E o comercial do iG, feito pela Neogama/BBH, além de copiar seguir um estilo sem graça, ainda segue a idéia do Kuat, ou seja, a falta de idéias. Não vou postar o vídeo do refrigerante novamente. Basta um CTRL + F e procurar pela palavra "cuat" aqui no blog que você encontra o vídeo.

Fugir o planejamento, do produto e do consumidor virou moda.

Chega de falação, eis o comercial:

Reparem que de toda a campanha, esse foi o único VT que critiquei. Os demais só assisti no youtube. Tem um com o Selton Melo, a Letícia Birkheuer e o Bernardinho, técnico da seleção de vôlei que até dá pra passar, e um estilo poemas do Pedro Bial, mas que ainda assim eu gostei, e por isso mesmo vou publicar aqui, como prova de que quem faz algo ruim, também consegue fazer trabalhos bons, e vice-versa:

O mundo é de quem faz, mas e o iG, alguém faz aquela joça?

It´s only rock n´roll... but we like it. Así se llama el nuevo ciclo de cine que estrenó el Círculo de Bellas Artes el pasado 1 de julio. Un conjunto de 9 pelis con un factor común: la pasión por la música y el rock n´roll. Títulos como: woodstock, let it be (the beatles), the song remains the same (led zeppelin), heavy metal, pink floyd the wall, let´s spend the night together (rolling stones), big time (tom waits), shine a light, el último vals (the last waltz) y directores de renombre como el oscarizado Martin Scorsese. Una oportunidad única en pleno centro de madrid. Más info en: http://www.circulobellasartes.com/ag_cine.php?ele=160&peli=844