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Хроники Нарнии: Покоритель Зари скачать бесплатно на высокой скорости [17 Nov 2010|11:07am]

brittnyez
Всем здрасьте, хочу вам предложить скачать Хроники Нарнии: Покоритель Зари на нашем сайте кинорип.рф.

Очень интересный и увлекательный фильм не оставит вас равнодушными. стою на асфальте я в лыжи обутый...
мне не понравилось, довольно затянутое и скучное начало, затем сама "игра" более-менее держит, потом опять тоскливая дрянь.
вообщем смотреть, лишь в том случае, если делать абсолютно нечего. кому понравился фильм хроники нарнии покоритель зари, напишите чем?

Цитата:
Фильм не отражает реальности. Во-первых, почему все гости без защиты? В любой момент какой-нибудь сошедший с катушек игрок может начат пальбу по толпе. Во-вторых, ранняя отмашка ведущего провоцирует фальстарты. Периферическое зрение пока еще никто не отменял. В третьих, как они вообще могут отпускать их после игры? Мало того дают еще и денег. То что это свидетели, видевшие все лица, мало кого волнует. В-четвертых, почему не было наружки для главного героя? Поговорили, поверили на слово, отпустили.
ляпов там вагон, старался не обращать на них внимания, но такие же мысли возникали. если еще убрать известных актеров с постера, не уверен, что стал бы его качать. но повторюсь 1 раз все-таки глянуть можно, по крайней мере, я хотя бы не плевался)

Посмотрел после этого фильма оригинал и был удивлен, что человек смог переснять сам себя настолько блестяще. Кому не хватает экшена, смотрите боевики а не драмы. 1 фильм более динамичный но такого ощущения после просмотра нет, не хватает харизматического рефери и Стетема в роли главного подонка, не хватает нескольких атмосферных моментов которые присутствуют в римейке. Автору спасибо. Не хватает чисто французкой оторванности и хорошего психологизма)))
Не зря Баблуани свой первый фильм отснял в ч/б... Такой психоз нарастает, что планка едет... Общепризнанно, что ч/б фото намного выразительнее цветных, в кино тоже самое порой происходит... Плюс тот фильм начинается и заканчивается как классическая французская драма, а то что между этим -- сумашествие самое настоящее... Полностью утеряно ффффсе -- самое главное -- тот францзский шарм на фоне полнейшего безумия...

Не согласен. Если учесть что бесплатный сыр только в мышеловке... на мой взгляд фильм очень даже продуманный и полный. Как было сказано кем то ранее что концовка плохая, возможно и так, но парнишка то хоть и сглупил,ввязавшись, родителям главное помог.

Особо понравился момент где он билет съел,сильный и умный поступок..

 Есть на трекере версия 2005 года? искал не нашел, подскажите пожалуйста если кто знает в личку,спасибо
Did I Break Your Concentration?

[28 Jan 2010|02:23am]

internetcouple
Our thoughts about Iron Man 2
Did I Break Your Concentration?

Sergio Leone for the win. [04 Jan 2010|12:07pm]

yuki_sagara


or HERE


LOVE the spaghetti western of Sergio Leone and LOVE practically all the characters. This minor fandom deserves a fanvid, although that fanvid is mine xDDDD And the lyrics from this wonderful song of One Republic suggest me a perfect portrait about the essence of the movies. If you like it too, ENJOY IT! ^^
Did I Break Your Concentration?

Alice in Wonderland: The Mad Hatter [20 Nov 2009|02:01pm]

theidolhands
Includes an official cosplay, a preliminary costume sketch, the March Hare, Disney style & more.

◆ credit: theidolhands
◆ comments appreciated
◆ icons aren't bases
no hotlinking
* to view all created.



set one [90 icons]




set two [110 icons]

[10 Oct 2009|01:07am]

happenstance3
The Movie Mobsters went to see Couple's Retreat, Capitalism: A Love Story, and Paranormal Activity this week.

And now I present to you their skits...lol...:


Did I Break Your Concentration?

Delirious Revisited [14 May 2008|07:56pm]

chidder
Last August, Deb and I had the opportunity to attend a special screening of director Tom DiCillo's Delirious. I wrote about the film the next day (which, if you check out the comments, generated a response from DiCillo himself). In subsequent weeks, due to lousy distribution (think Katrina-relief-effort lousy) and despite a rave review from Roger Ebert, Delirious came and went, lasting only a month in New York, a week in Los Angeles, and appearing on less than two-dozen screens in the entire U.S.

 

Last week Delirious was released on DVD. I encourage you to run out and buy, rent, or steal a copy immediately. You won't be disappointed (especially if you're a fan of the great character-study films of the Seventies). Rewatching the film today, I was once again blown away. Not only does it boast fantastic performances (by Steve Buscemi, Michael Pitt, and Gina Gershon, to name the obvious few), it's also a stunning piece of cinema.

Fortunately, the DVD transfer captures the movie's rich colors; scenes like the one where the Pitt character, walking through the streets of New York and realizing he's in love, are nothing short of visual poetry. Plus, there's a great commentary track by DiCillo, who has crafted a film, despite all third-party efforts to the contrary, worth remembering.

Did I Break Your Concentration?

What the Hell? [27 Mar 2008|01:24pm]

chidder
This morning, in The New York Sun, there's an article about how Manhattan's Anthology Film Archives (according to its website, "the first museum devoted to film as an art form") is reviving the early movies of Albert Brooks; specifically, his first two features, the wonderful and exquisite Real Life and Modern Love (the former, made in 1979, an extremely prescient commentary on reality television, the latter taking neurotic romanticism to heights even Woody Allen never dreamed possible).

Regarding Brooks's third movie, Lost in America, the article mentions that "'there's no print of it anywhere.' An apparent victim of indifference on the part of Warner Bros., which owns the film, Lost in America has fallen through the distribution cracks."

No print of it anywhere?! It's not unusual in this day of film restoration awareness (thanks to the efforts of directors like Martin Scorsese) to hear how 90 percent of American silent movies have been lost, as well as half of all the films made in the U.S. before 1950. But we're talking about a movie that was made in 1985, for Chrissake! As well, Lost in America took in more at the box office than Brooks's first two films combined. And nobody thought to preserve a single print?

I don't know about you, but that really grinds my gears.
Did I Break Your Concentration?

Cancel the Bigger Boat [13 Feb 2008|03:14pm]

chidder
[ mood | rejuvenated ]

Roy Scheider died earlier this week. Damn. He was one of those actors who was often much better than the material he was given (a curse that followed him from his first screen credit: TV's The Edge of Night).

But all that's moot, because he appeared in one of the most entertaining films ever made (Jaws, where he ad-libbed the line "You're gonna need a bigger boat"), one of the most exciting (his reaction shots behind Gene Hackman lent humanity to the often cold and heartless French Connection), one of the most overlooked (William Friedkin's difficult and uncompromising Sorcerer), and two of the most daring (David Cronenberg's version of Naked Lunch and his narration for Paul Schrader's Mishima: A Life in Four Chapters). Most importantly, he starred in (and received an Academy Award nomination for Best Actor for) Bob Fosse's brilliant All that Jazz, which is just flat-out one of the best movies ever made.

Roy Scheider was a classic example of one of those actors, like Bogart, who always, regardless of circumstance, rose to the occasion; so that, in those those few-and-far-between instances when the occasions rose to him, he was ready.

He is already missed.

Did I Break Your Concentration?

[28 Dec 2007|06:00pm]

adaptedspike
I hope this is allowed. I created an RP revolving around directors and promoting it in RP promotion communities doesn't seem to work, since no one on them has heard of any directors, so I thought I'd go to sites for people who know something about movies. The community is the_crf and it's just a faux celebrity RP revolving around directors. Lots of good ones are available.
Did I Break Your Concentration?

Delirious [15 Aug 2007|10:59am]

chidder
I've got this camera click, click, clickin' in my head.
—ELVIS COSTELLO,
"I'm Not Angry"

Although it doesn't appear until the end credits, Elvis Costello's classic 1977 spitfire anthem serves as one of the best movie theme songs—theme in every sense of the word—of recent years. Jealousy, voyeurism, paranoia, acceptance, rejection, denial, the potential for violence, the recognition that it's all so damn unfunny that it becomes funny—Costello's song has it all, and so does the fine film to which it's now been wed.

Director and writer Tom DiCillo's Delirious, which had a special screening last night in Manhattan at the Angelika, works effectively on so many different levels that it gives new meaning to the term cross-genre. At once a comedic and dramatic Midnight Cowboyish character study of downtrodden friendship, it's also a love story, a meditation on fame (those who have it vs. those who want it), and a potential stalker flick. Despite its vastly disparate characters, shifts in tone, and wildly divergent plot lines, the movie hangs together remarkably well. Its debts to Michael Powell's Peeping Tom and Martin Scorsese's Taxi Driver aside, Delirious is the best movie about wanting to be famous since that other great Scorsese paean to obsessive behavior, 1983's The King of Comedy. (Both Scorsese films starred Robert De Niro, who receives mention several times in Delirious.)

"Sometimes I see too much," says Steve Buscemi's Les Gallantine (even his name is a worthy successor to Rupert Pupkin and Travis Bickle) to Michael Pitt's Toby Grace. What he doesn't see is how his chosen profession—that of paparazzi—with each click of his shutter takes something away from his subjects. He proudly displays on his apartment wall two long-range photos of Elvis Costello (who effectively appears as himself in the movie) as if they were big-game trophies.

Following last night's screening, Tom DiCillo spoke about the making of Delirious, which he spent the last six years bringing to fruition. He couldn't say enough good things about his star Steve Buscemi, who delivers what might well be the best performance of his career (right up there with his starring role in DiCillo's 1995 indie classic, Living in Oblivion).

One thing DiCillo couldn't stress enough about his new film and whether or not it succeeds: "Tell your friends about it." Indeed, in a movie marketplace where big-name films boast advertising budgets larger than what it cost DiCillo to make his movie (he had to reduce his budget from five million dollars down to three million), word of mouth is more important than ever.

DiCillo told The New York Times last week: "'Look at the movies people are watching.... They’re about nothing. You invest nothing.'"

Not so with Delirious.

Did I Break Your Concentration?

Shopsin's [14 Jul 2007|10:05am]

chidder
I learned about Shopsin's last year when I visited Evergreen Video to interview owner Steve Feltes for my book about Paul Nelson. Deciding we'd eat while we talked, we walked across the street to Shopsin's, at 54 Carmine Street in the West Village, where we were presented with menus the length of an F. Scott Fitzgerald novella (there are supposedly over 900 dishes listed).

On the way over, Steve told me that the restaurant's proprietor, Kenny Shopsin, was somewhat legendary for yelling at — and even tossing out — his customers. He also mentioned that someone had made a documentary about Shopsin.

Now that film from 2004, I Like Killing Flies, is out on DVD (I watched it online yesterday via Netflix). Lo and behold, Kenny Shopsin is indeed a veritable Soup Nazi (his refusal to seat parties of five or more is only one of his endearing predilections), albeit one with a fouler mouth and a more philosophical bent. Imagine a cross between a kinder, gentler Charles Bukowski and perverse, dyspeptic Mortimer J. Adler — then stick a spatula in one hand and a flyswatter in the other, and voilà! you have Kenny Shopsin.

Director Matt Mahurin's documentary is about as bare bones as you can get, and the pace is rambling and frenetic at the same time; all of which serves his subject well. And, indeed, Shopsin likes killing flies, which functions not only as a metaphor for how he treats his customers but also for the United States' terrorist problem and for the human condition as a whole.

The day I was there, Shopsin was on his best behavior, occasionally emerging from the kitchen to sit down and visit with a customer, and the food was great (reminding me of one of my favorite restaurants from Salt Lake City, Over the Counter). And, perhaps because it was late in the year, there were no flies.

Did I Break Your Concentration?

Gun Crazy [26 Apr 2007|10:18am]

chidder
I'm not sure how this one escaped me for so many years. Directed in 1949 by Joseph H. Lewis from a screenplay by MacKinlay Kantor (based on his 1940 Saturday Evening Post short story) and blacklisted Dalton Trumbo masquerading as Millard Kaufman, Gun Crazy reset the standard for film noir and paved the way for the attractive, sympathetic -- albeit sometimes psychotic -- antiheroes that showed up two decades later in movies like Bonnie and Clyde (whose real-life characters inspired Gun Crazy's lovin' couple on the run) and The Getaway.

Cinematically, the film's often expressionistic; its startling and (then) innovative use of extended "backseat driver" takes, shot from within the getaway car, and get the viewer caught up not only in the characters' predicament but the sexual excitement their larceny generates. And Russell Harlan's black-and-white cinematography is right up there with his work on Red River, The Thing from Another World, and Blackboard Jungle.

Not again until Warren Beatty and Faye Dunaway would the screen see crooks as charismatic as Peggy Cummins and John Dall. Director Lewis told critic Danny Peary in 1981: "I told John, 'Your cock's never been so hard,' and I told Peggy, 'You're a female dog in heat, and you want him. But don't let him have it in a hurry. Keep him waiting.' That's exactly how I talked to them and I turned them loose. I didn't have to give them more directions."

Did I Break Your Concentration?

Everything Is an Afterthought [23 Apr 2007|11:38am]

chidder
I recently sold my first book. In conjunction, I've established another LiveJournal to report on the project's progress, occasionally provide links about, and writings by, its subject, the journalist and critic Paul Nelson, and share snippets of information or parts of interviews that may or may not be covered further in the final product.

In addition to being a critic and screenwriter, Nelson co-wrote the fine book: 701 Toughest Movie Trivia Questions of All Time (about which Martin Scorsese said, "Some of the sections were so tough I could only guess at the answers, but the book taught me a lot I was happy to learn").

The new journal shares the book's working title, Everything Is an Afterthought: The Life and Writings of Paul Nelson. Just follow the link.

Anybody interested in learning more about this brilliant writer, whose own life proved just as mysterious and fascinating as the artists' about whom he wrote, is welcome to join. As well, tracking the process of how a book goes from sale to publication should prove interesting. I'm rather curious about that part myself...
Did I Break Your Concentration?

Year of the Dog [23 Apr 2007|11:35am]

chidder


For his directorial debut, Mike White chose to make a movie (based on his own original screenplay) that's a treatise about loneliness and people who have love but can't find a place to put it. Like many of the characters in White's previous scripts (to name a notable few: Chuck and Buck, School of Rock, Orange County, three episodes of Freaks and Geeks, and one of my all-time favorite films, The Good Girl), Year of the Dog's Peggy (played by Molly Shannon) doesn't quite have a sense of herself; her strong feelings and opinions locate her a little outside of the mainstream. The thing is, the people in the orbit of her life who don't get her, whose eyebrows and judgment she raises, are no less idiosyncratic.

Following the surprising but inevitable course that Peggy's life takes, Shannon is excellent, as is the rest of the cast, with the ever-dependable John C. Reilly, Peter Sarsgaard, and John Pais particularly outstanding.

As exemplified by a user comment at IMDb, the film is far from the chick flick that its plot and advertising suggests: " I thought I was going to see a funny movie. I came home feeling suicidal. If I wanted to see a pathetic over-40 woman who has bad dates and lives alone with the pets she dotes on too much, I woulda stayed home and stared in the mirror!" Year of the Dog -- the chick flick from hell?

Regardless, by movie's end, as in all of White's work, he manages to humanize his offbeat characters so that we, too, can understand and perhaps even identify with them -- if we hadn't already all along.

Did I Break Your Concentration?

We Don't Live Here Anymore [29 Mar 2007|06:18pm]

chidder
"Too sad," Mark Ruffalo's character says toward the end of this film from 2004, succinctly summing up the preceding hour and a half of marital warfare. Arguably, director John J. Curran's greatest accomplishment is managing to end the movie, which is sometimes almost too painful to watch, on a hopeful note without resorting to maudlin platitudes or a song by Sarah McLachlan. 

Woody Allen's Husband and Wives without the laughs, Bergman's Scenes from a Marriage without the subtitles, and Kubrick's Eyes Wide Shut without the masks, We Don't Live Here Anymore boasts terrific performances from Ruffalo (fine in this year's Zodiac), Laura Dern, Peter Krause, and co-producer Naomi Watts.

Larry Gross's screenplay, based on Andre Dubus's novella We Don't Live Here Anymore and short story "Adultery," guides -- but doesn't drag -- the viewer through a psychic minefield fraught with every imaginable method of harm we humans can inflict upon one another without actually drawing blood.

1 Offered Retort| Did I Break Your Concentration?

Pauline Kael, Reviews A-Z [22 Oct 2006|12:19pm]

chidder
[ mood | spirited ]



Some lunatic has put online all 2,846 of Pauline Kael's capsule reviews from her fine compendium, 5001 Nights at the Movies. While I don't advocate the unauthorized hijacking of anybody's copyrighted works (the site's been out there for a while now, so who knows whether or not it's been sanctioned), it's indeed handy having these insightful cinematic kernels available at one's fingertips. (Which is to say, it saves me the arduous task of getting up off my butt and taking the book itself off the shelf.) Such is the insidiousness of the Internet.

On paper or in cyberspace, one thing these reviews reveal is that Kael was at her best writing in the long form. Reduced to the amount of space usually permitted in Entertainment Weekly, often lost are the insights, the snap of her words, and the sense of enjoyment that shone through her writing. Kael, like Paul Nelson, was as much a stylist as she was a critic, in some cases rendering the reviews she wrote better than the films she was writing about.

Did I Break Your Concentration?

The Abominable Snowman [10 Oct 2006|02:56pm]

chidder
[ mood | forging ahead ]



While it certainly wouldn't qualify for Paul Schrader's canon of great films (or anybody else's, for that matter, including mine), whenever I happen across this 1957 movie (sometimes calling itself The Abominable Snowman of the Himalayas) when it airs on Turner Classic Movies, I inevitably watch until the end. Director Val Guest treats screenwriter Nigel Kneale's intelligent script so matter-of-factly that parts of the movie achieve a documentary feel (helped along, admittedly, by the wealth of stock footage of the Himalayan mountain range and avalanches). 

I remember staying up late one night to watch this, for the first time, as a child, and being absolutely mesmerized by Peter Cushing's long-awaited face-to-face encounter with the Yeti. The effect remains the same for me today: menace mixing with mystery as the unbelievably tall beings step from the shadow into the light, finally revealing the eyes of the Yeti. Those age-old eyes. 

Did I Break Your Concentration?

[03 Oct 2006|05:02pm]

grapesodacarl
Come join allinittogether

For fans of Terry Gilliam's films.
Did I Break Your Concentration?

Edmond [15 Aug 2006|01:28pm]

chidder
[ mood | headachy ]



When this film first opened in Manhattan, its run was so short that, by the time I read about it, it was gone. So it was with considerable delight when I discovered the film had returned, this time to Brooklyn, last week. 

Edmond seemed to have everything going for it: a script by David Mamet, based on his 1982 play of the same name; starring the incomparable William H. Macy, always marvelous but especially so in Wayne Cramer's wonderful 2003 film The Cooler; and director Stuart Gordon, who did HP Lovecraft proud with his adaptations of Re-Animator and From Beyond. On the surface, this film seemed like a winner. 

Therein lies the problem: Edmond is all surface. 

Edmond is the same character at the end of the film as he is at the beginning -- but it's not Macy's fault. The way the story is written, we don't know if the racial epithets Edmond spews are a sudden eruption or part of his daily routine, whether he's at the tail end of a journey toward violence or whether it's a destination he's inhabited for some time. It's not a one-note performance but a one-note character, devoid of any sense of what, if anything, has been lost. Just as Gordon's direction plods from one scene to the next, Edmond is a dead man walking from the first shot to the last (where he becomes a dead man lying down). Because we are not permitted to experience his fall, but rather just follow his somnambulistic walk on the wild side, there is no tragedy. We, like Edmond, feel nothing. 

Unlike Cape Fear's Max Cady, who promised, "You're gonna learn about loss," Edmond offers no such lesson. To paraphrase Dorothy Parker's famous obvservation, the film runs the gamut of emotions from A to B.

Similarly, a litany of usually fine actors are put through their paces so quickly and without distinction that often they're gone from the screen by the time we realize who they were: Jeffrey Combs (Re-Animator), Dule Hill (fine here in a role that's about as far from The West Wing's Charlie as he can get), Joe Mantegna (always amazing, but especially so as Dean Martin in The Rat Pack), Denise Richards (the Charlie Sheen-Denise Richards divorce), Julia Stiles (so memorable in Mamet's State and Main), Mean Suvari (the American Beauty herself), Rebecca Pidgeon (also fine State and Main -- and married to Mr. Mamet), and Debi Mazar (not used nearly enough in Entourage). Despite all this thespian firepower, the only onscreen chemistry occurs in the scene between Macy and Stiles in her character's apartment, when, for a fleeting moment, it seems as if she and Edmond might have found in each other a twisted kindred spirit. Alas, even that spark is extinguished before it can ignite anything else.

A gentleman, a few rows ahead of us, served as spokesman for the sparse audience when the film faded out and the lights came up. "That's it?" he said. Indeed.

Did I Break Your Concentration?

Can anyone help? [05 Mar 2006|10:07am]

kaskadersha
I was wondering if anyone has pictures of family members or themselves taken at the airport or with suitcases. The idea is, that for my student film, which is titled "Immigrant Tales" for the opening titles I'd like to use pictures of immigrants upon their arrival sporting the 'I just got here' look. However, I'm sure it'll work if people are with suitcases or in a merry huddle at any airport.

The ideal scenario is that you have a 2 mb digital file taken by a 5 megapixel camera, but I'll take any prints you have (of course with the authorization to use the image). It would also be awsome if people are from different parts of the world. So please dig in your shoe boxes and forgotten picture folders. I can't really afford to pay you, but you'll be credited in the film. Please feel free to ask any questions. Thanks!

Marina
Did I Break Your Concentration?

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