Filmek (minden, ami nem japán)

[Cloud]

Knowing


Az új Nic Cage-es film. Szerintem nagyon jó film volt, csak a végét nem biztos hogy megértettem.

[spoiler]Jöttek az idegenek, elvitték a Földről a kiscsávót meg a csaját, (meg még jópár embert ,hisz lehetett láni a sok űrhajót)
Aztán Föld elpusztul, a gyerekeket meg elvitték egy idegen bolygóra benépesíteni?[/spoiler]

[NLZ]

Jah, valami ilyen hülyeség volt.

[noriko]

Jah, valami ilyen hülyeség volt.

+1

tőlem 3/10-et kap.

[NLZ]

Azért egy 4-et megérdemel, a végén aranyosan nézett ki a tűz.

[Cloud]

Azért egy 4-et megérdemel, a végén aranyosan nézett ki a tűz.

[Nakedape]

Snatch Wars

[Kvikveg]

Snatch Wars

Ez... ááááá! 

[NLZ]

Ez a Crank 2 mekkora egy beteg faszság.

[Pr3d4k1ng]

Ez a Crank 2 mekkora egy beteg faszság.

Miért? Az 1 nem az volt?

[Xzone]

Ez a Crank 2 mekkora egy beteg faszság.

Már kijött?

[NLZ]

Jah, már van egész türhető verzió belőle. (Crank 2 High Voltage CUSTOM 5.1 AC3 XVID READ NFO - STG & Adywan)

[kikuchiyo]

Knowing

Csak megnéztem, itt ült a kisördög a vállamon és mondta a fülembe, hogy Alex Proyas, meg Dark City, meg hogy nézd meg. Kár volt hallgatni rá, a film nem jó. Nem az a kifejezetten fej-falbaverősen rossz (a "100 microtesla wave of radiation that will penetrate the ozone layer" kivételével, ott hörögtem), csak éppen túl sok minden próbál lenni egyszerre, de egyik sem sikerül igazán. Vannak elemek jó sci-fi novellákból, vannak hangulatok és képek jó és kevésbé jó filmekből, de az elegy sajnos egy híg, fáradt massza lesz, amit Nicholas Cage híg, fáradt játéka ural. Az a rész, ami az érzelmekre próbál hatni a főhős és a fia érzékeny kapcsolatának bemutatásával, érdektelen, a khm, nagyszabású eseményeket ábrázoló szál pedig kevés - bár a katasztrófa-jelenetek hatását el kell ismernem. A vallásos propagandát ellenben libatömővel próbálja a film a nézők torkán lenyomni.

Szóval kihagyhatónak tartom. A 100 microtesláért meg seggberúgás jár a forgatókönyvírónak.

[Cloud]

Knowing

Csak megnéztem, itt ült a kisördög a vállamon és mondta a fülembe, hogy Alex Proyas, meg Dark City, meg hogy nézd meg. Kár volt hallgatni rá, a film nem jó. Nem az a kifejezetten fej-falbaverősen rossz (a "100 microtesla wave of radiation that will penetrate the ozone layer" kivételével, ott hörögtem), csak éppen túl sok minden próbál lenni egyszerre, de egyik sem sikerül igazán. Vannak elemek jó sci-fi novellákból, vannak hangulatok és képek jó és kevésbé jó filmekből, de az elegy sajnos egy híg, fáradt massza lesz, amit Nicholas Cage híg, fáradt játéka ural. Az a rész, ami az érzelmekre próbál hatni a főhős és a fia érzékeny kapcsolatának bemutatásával, érdektelen, a khm, nagyszabású eseményeket ábrázoló szál pedig kevés - bár a katasztrófa-jelenetek hatását el kell ismernem. A vallásos propagandát ellenben libatömővel próbálja a film a nézők torkán lenyomni.

Szóval kihagyhatónak tartom. A 100 microtesláért meg seggberúgás jár a forgatókönyvírónak.

[spoiler]Szerintem akkor lett volna jó film ha az idegeneket  simán kihagyják  belőle  és  csak  simán  elpusztul minden. Na akkor vadállat film lett  volna. De  így....[/spoiler]

Bazz spoilerre megint nem figyeltem. Sorry skacok. 

[Fazék]

eh. mindegy, most már megnézem, ha egyszer lent van a 3/4-e HD változatban...

szerk: de jó hogy nem olvastam el Cloud szövegét

[kikuchiyo]

I kinda tried to avoid spoilers, you know...

[Fazék]

de szerencsére van egy házitrollunk, aki beidézi és immár beleolvastam. many thx 

[Kvikveg]

Nicholas Cage nalam mar regota egyenlo az erdektelenseggel.

[Zen]

Szegény Cage bácsi. :_c
Nem baj, Tolvajtempó ettől még nem szűnik meg.

[Pr3d4k1ng]

Szegény Cage bácsi. :_c
Nem baj, Tolvajtempó ettől még nem szűnik meg.

Azóta valahogyan nem nagyon találja a helyét.

[Solid Snake]

The Hangover

Meglepően remek és felnőttes vígjáték. Már amennyire annak lehet tekinteni 3 totál másnapos fickó nyomozási kísérletét a legénybúcsút követően az elvesztett vőlegény után. Végig vigyorgós, ötletes poénokkal és változatos karakterekkel rendelkező üde színfolt.

9/10

Azóta valahogyan nem nagyon találja a helyét.

Weather Man?

[Puru²]

Blade Runner-ből melyik változatot érdemes beszerezni ? (Director vagy Final cut ?)

[kikuchiyo]

Sajnos nagyon sok változata van, és nehéz megmondani, hogy melyik melyik.
A director's cut jelzésű alváltozatok az "igazibbak".

[Zsiga]

Ezt:



Btw. a Final Cut jobb mint a DirCut. Kicsit bővebben hogy melyik kiadás milyen:
Workprint: 113 perc, az eredeti mozis premier előtt vetítgették szűkebb közönségnek, később meg director's cut néven vették elő újra.
USA mozis: Az "eredeti" verzió, 116 perc.
Nemzetközi verzió: USA ver kevésbé vágva, kicsit durvábbak az akciójelenetek, 117 perc.
USA TV-s verzió : 114 perc, pár TV-be nem való jelenet kivágva.
Director's Cut: Miután a director's cutként újra előszedett Workprint sikeres volt, gyorsan összedobtak egy igazi rendezői változatot, pár plusz jelenettel és alternatív befejezéssel, 116 perc.
Final Cut : Az igazi Director's Cut, ebbe a rendezőn kívül már senki más nem pofázott bele, 117 perc.

[kikuchiyo]

[spoiler=részlet az alt.fan.blade-runner FAQ-jából]1.5. How many versions of BR are there?

. US Denver/Dallas Sneak Preview/Workprint (1982)
. US San Diego Sneak Preview (1982)
. US Theatrical Release (1982)
. European Theatrical Release (1982)
. The Director's Cut (BRDC) (1992)
. [new version is being prepared] (2002?)
In Future Noir, Sammon counts 5 different versions : Denver-Dallas sneak
preview, San Diego sneak,
theatrical release in 1982, the International Cut (with some longer scenes
like the killing of Tyrell), the
Fairfax, UCLA, NuArt & Castro confidential screenings (counted as '#1' again
as they are workprints)
and at last the DC.

1.6. What are the differences between the OV and the DC?

The OV features a "voice over" narration by Harrison Ford, and has an extra
scene at the end - a
"happy ending" scene of sorts - in which you see Deckard drive off with
Rachael in (strangely)
unspoiled nature under a bright, sunny sky; both are looking happy...
Also, there is no unicorn footage in the OV. (Original footage WAS filmed,
but it was cut at the
insistence of the producers, who voted it "too arty"...)
In the DC, the voice over is gone, and so is the "happy ending", leaving the
film ending with Deckard &
Rachael stepping into the elevator, effectively making the film more
open-ended. The DC also features
the unicorn "dream" sequence. Finally, some new background "noises" were
added to compensate for
any voids created by omitting the VO.
There are at least seven differences between the BRDC and the Domestic Cut /
International Cut:
1. Deckard's narration has been completely eliminated.
2. Some added dialogue from the blimp was inserted to fill the hole created
by Deckard's missing
voice-over, originally heard in the Domestic/International/San Diego Cuts
while Deckard was waiting
for a place at the Noodle Bar ("They don't advertise for killers in a
newspaper..."). This added BRDC
blimp line consists of a female voice saying "This announcement has been
brought to you by the
Shimago-Dominguez Corporation. Helping America into the New World. "
3. A twelve-second-long unicorn shot was reintroduced as Deckard plays his
piano.
4. The music track during the unicorn scene was also changed. Originally, in
the
International/Domestic/San Diego Cuts, the beautiful saxophone solo from
Vangelis' "Love Theme"
was heard as Deckard plinks on his piano. But for the BRDC, a new
twelve-second music cue by
Vangelis (which had been composed back in 1982 and was retrieved by Arick
and Scott especially for
inclusion in the BRDC) is heard instead. This takes the form of an atonal
chorus wailing over the shot
of the unicorn running through the woods and concludes with the sound of an
electronically generated
"hunting horn" that's heard as the unicorn shot dissolves back into the
image of Deckard at the piano.
5. The Director's Cut features no happy ending or "Ride into The Sunset."
Instead, the BRDC ends
with the elevator doors closing on Deckard and Rachael, as did the
Workprint.
6. The extra violence seen on videocassette and laser disc copies of the
International Cut was deleted
for the BRDC.
7. A newly remixed digital soundtrack was created for the BRDC.
[Source: FN] [/spoiler]

[Ramiz]

Valakinek megvan az eredeti változat? Még sosem láttam, pedig kíváncsi vagyok a voiceover-re, állítólag határozottan film noir-os, nyomozós sztori beütésű lesz tőle a film.

[Zsiga]

[spoiler=részlet az alt.fan.blade-runner FAQ-jából]1.5. How many versions of BR are there?

. US Denver/Dallas Sneak Preview/Workprint (1982)
. US San Diego Sneak Preview (1982)
. US Theatrical Release (1982)
. European Theatrical Release (1982)
. The Director's Cut (BRDC) (1992)
. [new version is being prepared] (2002?)
In Future Noir, Sammon counts 5 different versions : Denver-Dallas sneak
preview, San Diego sneak,
theatrical release in 1982, the International Cut (with some longer scenes
like the killing of Tyrell), the
Fairfax, UCLA, NuArt & Castro confidential screenings (counted as '#1' again
as they are workprints)
and at last the DC.

1.6. What are the differences between the OV and the DC?

The OV features a "voice over" narration by Harrison Ford, and has an extra
scene at the end - a
"happy ending" scene of sorts - in which you see Deckard drive off with
Rachael in (strangely)
unspoiled nature under a bright, sunny sky; both are looking happy...
Also, there is no unicorn footage in the OV. (Original footage WAS filmed,
but it was cut at the
insistence of the producers, who voted it "too arty"...)
In the DC, the voice over is gone, and so is the "happy ending", leaving the
film ending with Deckard &
Rachael stepping into the elevator, effectively making the film more
open-ended. The DC also features
the unicorn "dream" sequence. Finally, some new background "noises" were
added to compensate for
any voids created by omitting the VO.
There are at least seven differences between the BRDC and the Domestic Cut /
International Cut:
1. Deckard's narration has been completely eliminated.
2. Some added dialogue from the blimp was inserted to fill the hole created
by Deckard's missing
voice-over, originally heard in the Domestic/International/San Diego Cuts
while Deckard was waiting
for a place at the Noodle Bar ("They don't advertise for killers in a
newspaper..."). This added BRDC
blimp line consists of a female voice saying "This announcement has been
brought to you by the
Shimago-Dominguez Corporation. Helping America into the New World. "
3. A twelve-second-long unicorn shot was reintroduced as Deckard plays his
piano.
4. The music track during the unicorn scene was also changed. Originally, in
the
International/Domestic/San Diego Cuts, the beautiful saxophone solo from
Vangelis' "Love Theme"
was heard as Deckard plinks on his piano. But for the BRDC, a new
twelve-second music cue by
Vangelis (which had been composed back in 1982 and was retrieved by Arick
and Scott especially for
inclusion in the BRDC) is heard instead. This takes the form of an atonal
chorus wailing over the shot
of the unicorn running through the woods and concludes with the sound of an
electronically generated
"hunting horn" that's heard as the unicorn shot dissolves back into the
image of Deckard at the piano.
5. The Director's Cut features no happy ending or "Ride into The Sunset."
Instead, the BRDC ends
with the elevator doors closing on Deckard and Rachael, as did the
Workprint.
6. The extra violence seen on videocassette and laser disc copies of the
International Cut was deleted
for the BRDC.
7. A newly remixed digital soundtrack was created for the BRDC.
[Source: FN] [/spoiler]

[spoiler=Final Cut]The Final Cut contains the following differences (in order of appearance) from the 1992 Director's Cut:

The color timing has been noticeably altered to give the film a more greenish tint.
The fireballs in the opening refinery shot are correctly synchronized with the associated light play on the smokestacks. Some of these had been off-sync in earlier versions.
The shot of Deckard waiting to eat at the White Dragon has been shortened, its editing reminiscent of the workprint version of the shot. This was done due to the removal of the voiceover.
Smoke has been added behind the cook when he serves Deckard.
The cables lifting Gaff's police spinner are no longer plainly visible. Cables were also removed from another shot of a spinner late in the film, just before Deckard enters Sebastian's apartment building.
In addition to English the voices on police radio during Gaff's and Deckard's flight to the police headquarters can be heard speaking German, Japanese and Swedish.
As Deckard enters Bryant's office, Bryant's statement "I've got four skinjobs walking the streets" is no longer obviously a spliced-in re-recording.
Bryant's line "One of them got fried running through an electrical field" is changed to "Two of them..." to remove the numerical inconsistency later on.
Bryant adds a new line about Leon being able to "lift 400 pound atomic loads all day and night". This is from the workprint.
When Gaff and Deckard first appear at Leon's apartment, the landlord now says "Kowalski", another small bit originally from the workprint.
A background behind Batty when he is first introduced speaking to Leon has been changed. As the shot was taken from a later scene, this has now been corrected to appear as if Batty is actually in the phone booth as Leon finds him.
The original full-length version of the unicorn dream has been restored. This is a much different version than the one that appeared in the Director's Cut, and has never been in any version seen by the public prior to this one. Deckard is shown to be awake; previously he was asleep or nearly asleep.
The sequence at the fish booth now shows Deckard leaving.
Deckard's conversation with the snake merchant Abdul Ben Hassan has been altered so that the dialogue is no longer out of sync; Ford's son, Ben, lip-synched the spoken dialog and his mouth was digitally placed over his father's.
A shot of the busy crowds in the streets was restored. Immediately after that, a shot of two strippers wearing hockey goalie masks was restored. Finally, there's a shot of Deckard talking to another police officer just prior to Deckard entering the Snake Pit. These three shots had previously appeared in slightly different form in the workprint version.
During Deckard's pursuit of Zhora, Joanna Cassidy's face has been digitally superimposed over that of the stunt double, Lee Pulford. This scene was re-filmed specifically for the Final Cut. Although great effort had been undertaken to replace the stunt double face with Cassidy's, the tan-colored protective suit Pulford wore to protect against glass cuts is still visible.
A scar on Deckard's face after his "retirement" of Zhora has been removed. Originally, the scene in which Deckard meets Bryant after retiring Zhora was to take place after his encounter with Leon, explaining the scar. This was done prior to the removal of the "sixth replicant," creating a continuity error. Due to the re-ordering, the scar was always present before Deckard had actually received it.
When Batty confronts Tyrell, he says, "I want more life, father" from the workprint version, an alternate take intended for but never used in television broadcasts of the film, as opposed to the original line "I want more life, fucker." The line also has a noticeably deeper tonal quality than the previous versions.
After killing Tyrell, Batty says "I'm sorry Sebastian. Come. Come," when in the original he merely approached the frightened Sebastian. This is also from the workprint.
All the violent scenes in the International Cut that were deleted in the U.S. theatrical release and Director's Cut including Tyrell's death, the confrontation between Deckard and Pris and the nail through Batty's bleeding hand are restored to the Final Cut.
After Batty releases the dove, it now flies up into a dark rainy sky instead of a blue sky. [/spoiler]

[Nakedape]

http://www.youtube.com/watch?v=CjnfoFg7i7g

erre a dokumentumfilmre kíváncsi vagyok 

anno ezeket imádtam :
http://us.imdb.com/title/tt0276189/


volt második része is de azt nem látom


http://www.port.hu/jegmezok_dalnokai_heftig_og_begeistret/pls/fi/films.film_page?i_film_id=42173&i_city_id=3372&i_county_id=-1&i_where=1&i_topic_id=1

http://www.port.hu/pls/w/GENERAL.article?i_area_id=1&i_article_id=6567

[Kvikveg]

http://www.youtube.com/watch?v=CjnfoFg7i7g

erre a dokumentumfilmre kíváncsi vagyok 
...

+1 Ilyet se lattam meg, de tokjo! 

[Puru²]

Kint van a Watchmen rendezői változat   

[Próféta]

Kint van a Watchmen rendezői változat   

Hmm, vajon mivel tud majd többet?
Nagyon remélem, hogy ebbe a +25 percbe belefér a képregény klimax utáni utolsó, szemétparaszt, zseniális húzása, ami a filmből azért erősen hiányzott:
[spoiler]amikor a "nagy mű" után a mastermind Manhattantől vár megerősítést, jóváhagyást[/spoiler]