17 Ocak 2014 Cuma

JACK RYAN: Shallow Reboot

Opening today at a big ass multiplex near you:


(Dir. Kenneth Branaugh, 2014)

I just got through the painful process of accepting Chris Pine as Captain Kirk in the relaunched STAR TREK series, now I have to accept him as Tom Clancy's Jack Ryan in another reboot of a Paramount franchise too?

Apparently so as Pine is the fifth actor to fill the shoes of the intrepid CIA agent since the techno thriller series started in 1992 with Alec Baldwin in THE HUNT FOR RED OCTOBER. Harrison Ford took over the role for two entries - PATRIOT GAMES and CLEAR AND PRESENT DANGER in 1992 and 1994, then after a break of eight years, Ben Affleck made an unsuccessful stab at the Ryan role in THE SUM OF ALL FEARS (2002).

Now, after another long break we've got JACK RYAN: SHADOW RECRUIT, helmed by Kenneth Branaugh, who also plays the cold-eyed Russian villain. This being his directorial followup to THOR, Brannaugh has now officially re-branded himself as a big studio action movie maker.

David Koepp and Adam Cozad's screenplay, which isn't based on any particular Clancy novel, rewinds to the beginning of Ryan's career - we first see him as a student at the London School of Economics watching the terrorist attack on the World Trade Center towers on television. After a stint in the Marines where he almost loses a leg in a helicopter accident, Pine's Ryan gets recruited by Kevin Costner as a CIA operative to be a deep-cover financial analyst working on Wall Street. This is something he keeps secret from his fiancé (Keira Knightley), TRUE LIES-style, into the present day.

So far, so formulaic.

Learning of a possible terrorist attack that would lead to an American financial crash, Pine travels to scenic Moscow to thwart Branaugh's evil industrialist plotting to bring on what he calls the second Great Depression.

I feel like J.K. Simmons as a befuddled CIA man in the Coen brothers' BURN AFTER READING when I ask “the Russians?” I mean, I know that the roots of Ryan are based in Cold War espionage, but here it seems that the Soviet backdrop is aping recent similarly set spy capers like MISSION IMPOSSIBLE: GHOST PROTOCOL or, worse, the fifth DIE HARD movie which came out this same time last year.

The lack of genuine suspense is palpable in this routine mess in which the fight and chase scenes are horribly edited, the dialogue stiff, and the pacing scattered through the distractingly shiny surfaces.

And the film has no business being in IMAX as it wasn't shot by IMAX cameras and it has no big cinematic money shots that warrant such presentation. Even in what's supposed to be the movie's big climax, involving a van carrying a nuclear device going off the side of a bridge into the Hudson river and exploding, they don't show it long enough to make any impact.

There's also a mind-numbing Russian restaurant-set centerpiece sequence in which Knightly (who should go back to Victorian-era costume dramas and not attempt an American accent again) tries to distract Branaugh over dinner while her hubby is breaking into Branaugh's office that drags the whole narrative down. Hard to believe that screenwriters Koepp and Cozad thought that this was inspired material at all.

In a confident yet somewhat wooden performance, Pine is fine as the reluctant title character, but beyond his egghead calculations there's not much of a persona on display. 

JACK RYAN: SHADOW RECRUIT (such a generic title) is a shallow reboot that doesn't know how to elevate its hero into anything approaching the heights of Bond or Bourne, and make itself out to be anything better than standard issue spy fodder. 

More later...

14 Ocak 2014 Salı

Musings On The Music In The Coen Brothers’ Movies: Part III

Ethan Coen, T. Bone Burnett, and Joel Coen share a laugh in the recording studio during the sessions for INSIDE LLEWYN DAVIS.

The Coen brothers’ newest film, INSIDE LLEWYN DAVIS is one of their most musically minded movies so I’ve been taking a chronological look back at the songs and scores of the soundtracks throughout their fine filmography.

Part I covered BLOOD SIMPLE through FARGO: PART I: From the Dark Debut to the Snowblind Breakthrough (1984-1996).

Part II covered THE BIG LEBOWSKI through NO COUNTRY FOR OLD MEN: PART II: From a Movie Mix-tape Made By The Dude to a Muted De-Countrified Terrain With Some Soggy Mountain Boys Songs on the Side (1998-2007).

This update will carry us through BURN AFTER READING to their latest film which is now playing at an indie art house near you

Part III: From a Star Studded Spy-style Lark to a Dark Folksinging Farce (2008-2013)

The Coen brother’s follow-up to their Oscar-winning new fangled Western NO COUNTRY FOR OLD MEN was a lowbrow lark with a highbrow cast and production values: 2008’s BURN AFTER READING. George Clooney (returning for his third film with the brothers), Frances McDormond (her sixth), Brad Pitt, John Malkovich, Richard Jenkins, and Tilda Swinton find themselves caught up in a kooky Washington D.C.-set caper involving some not so intelligent members of the intelligence community.

Composer Carter Burwell, returning for his 12th film with the Coens, was called upon by Joel Coen to provide a score that’s “something big and bombastic, something important sounding but absolutely meaningless.” In a 2008 interview with Filmfocus.com, Burwell commented:

“I liked the idea that the composer is as deluded as the characters so that his soundtrack fits the movie the characters think they are in, rather than the actual film we are watching.”

The effect works wonders with the film’s dark thriller aesthetics right from the opening percussion-enhanced get-go in the Google Earth-esque credits opening (aptly named “Earth Zoom (In)” on the film’s issued soundtrack. (There's a
“Earth Zoom (Out)” at the end too).

After the minimal music accompaniment in NO COUNTRY, BURN AFTER READING gave us a full wall-to-wall Burwell score that was singled out by many critics including Wendy Ide from The Times who wrote: “Carter Burwell’s brilliant score is the most paranoid piece of film music since Quincy Jones’s neurotic soundtrack for THE ANDERSON TAPES - it’s particularly well-judged as it brings a gravity to a collection of characters who we could otherwise dismiss as numbskulls and nincompoops.”

Burwell (again in Filmfocus.com) though had a different film in mind for inspiration: “What I was referencing was [the score for] SEVEN DAYS IN MAY, which is almost entirely percussion and has lots of snare drums and marching sounds. But the [percussion in the BURN AFTER READING] score wasn’t about the military but instead a sense of grandiosity.”

Despite good reviews and respectable box office, BURN AFTER READING has sort of faded away in the years since its release. Re-watching it for this piece I found that it holds up nicely. Sure, it can seem like a throwaway – i.e. the Coens taking a silly breather between bigger statements - but with the amusing actions of its A-list cast and Burwell’s satirically over serious score I think it’s definitely a keeper.

Burwell and the brothers, Coen, re-united the following year for A SERIOUS MAN, an even darker comedy that focused on the trials and tribulations of a Minnesotan physics professor (Michael Stuhlbarg) in the late ‘60s.

Autobiographical elements from the Coen brothers’ Jewish upbringing were obviously in the mix. The inclusion of three Jefferson Airplane songs on the soundtrack leads me to believe one of the brothers got stoned at their bar mitzvah just like Gobnik’s son (Aaron Wolff) does in one of the film’s best scenes.

Jefferson Airplane’s “Somebody To Love” appears, as I wrote in my original review of the film, as “a driving force throughout the movie.” Firstly, when the credits slowly start to hit the screen after the odd Yiddish-language opening scene, Burwell’s Stomp-style percussion segues into the 1967 Jefferson Airplane classic. Then we see Wolff listening to the song on his portable transistor radio earplug while sitting in his classroom. The song gets broadcast to the rest of the class when the kid’s instructor angrily yanks the earplug out while confiscating the radio.

Burwell discussed this with movingimagesource.us: “The idea was that during this transition from the shtetl to the Jefferson Airplane, you're traveling through the ear canal of this boy in Hebrew school. It’s a dark and mysterious tunnel, and when you finally get to the end it turns out that it’s the earpiece of his portable radio through which he's listening to Jefferson Airplane. That was the first piece of music I wrote for the film.”

Burwell also said of the film: “The script had specific musical references: Jefferson Airplane, F Troop, Sidor Belarsky. Belarsky was a Jewish opera singer who also made some Yiddish records, and there's one Yiddish song that [the Coens] just loved. These songs were in the script, and that was basically what I had to go on at first. Joel and Ethan had no suggestion about what the score should be. They just said, ‘Well, this is what you've got. You've got Jefferson Airplane and F Troop and Sidor Belarsky.’”’

A SERIOUS MAN’S soundtrack features 20 tracks - the aforementioned Jefferson Airplane song “Somebody To Love” along with the San Francisco band’s “Comin’ Back To Me” and “Today” join 17 tracks of Burwell’s scorings, mostly made up of spare harp, strings, and piano stylings.

While his son listens to Jefferson Airplane, Stuhlbarg’s put-upon professor puts Sidor Belarsky on the family parlophone in his downtime. Much of the film concerns Stuhlbarg trying to get in to see the rabbi emeritus, the famous Marshak in order to obtain some wisdom, but it’s his son Wolff who gets a sit-down with the senior rabbi (Alan Mandell) after the blitzed boy’s bar mitzvah. After some well measured silence, the rabbi slowly intones: “When the truth is found to be lies, and all the hope within you dies…” Yep, the opening couplet from “Somebody To Love.”

The rabbi then says “Then what? Grace Slick, Marty Balin, Paul Kantner, Jorma-something. These are the members of the Airplane!” The rabbi gives back the boy’s transistor radio and concludes: “Be a good boy.” Seems like the Coens are saying that the lyrics of a rock song hold just about as much meaning as any religious dogma does. Or something.

For TRUE GRIT, the Coen brothers’ 2010 adaptation of the novel not a remake of the 1969 John Wayne movie, Burwell explained to Variety that for the tale of a 14-year-old girl bent on avenging her father’s murder in the Old West: “I thought that hymns, or music that sounded like hymns, would remind you that what’s driving the whole story is a biblical sense of righteousness.”

“19th Century church music” was another way Burwell put it in the same interview, and that’s what’s all over TRUE GRIT especially in the 1888 hymn “Leaning on the Everlasting Arms,” which accounts for a fourth of the score. Iris Dement’s version of the song that accompanies the end credits isn’t available on the Original Motion Picture Soundtrack CD, but it’s available on the iTunes version of the release.

Other old timey hymns referenced in the orchestral score are “The Glory-Land Way” and “What a Friend We Have in Jesus.”
Hold to God's Unchanging Hand, and Talk About Suffering.

Of course, because the hymns are considered pre-composed music, the movie didn’t get any Oscar nomination action for its score but it did get nominated for just about everything else (Jeff Bridges’ great grizzled turn as Rooster Coogburn nagged him his first Best Actor Academy Award).

The film also features a vocal turn by Bridges on the 19th century folk song “Greer County Bachelor,” but don’t go expecting Bad Blake from CRAZY HEART here.

In his very favorable review of the soundtrack, Tom Jurek of Allmusic.com remarked: “Of the 14 collaborations between the Coens and Burwell, this is among the most unique and satisfying for its enfolding of historic music into modern composition.”

Burwell wouldn’t return for the filmmaking sibling’s next film, but for the Coen brothers’ other favorite musical collaborator, T. Bone Burnett, it was a project he was born to produce. 

Historic music is what the lead character of the Coen brothers’ 2013 film, INSIDE LLEWYN DAVIS, says he pays his rent with: “If it’s never been new and it never gets old, it’s a folk song” he tells the audience at the Gaslight Café in 1961 Greenwich Village.

Trouble is, Llewyn Davis (Oscar Isaac) has no home because he can’t afford to pay rent. Davis is loosely modeled on ‘60s folksinger Dave Von Ronk in his repertoire (Isaac’s Davis sings songs that Ronk covered like “Green, Green Rocky Road” and “Hang Me, Oh Hang Me”) his almost identical album cover, and, as Ilijah Wald writes on the Inside Llewyn Davis website “shares his background as a working class kid who split his life between playing guitar and shipping out in the Merchant Marine.”

Davis was once part of a folk singing duo, Timlin & Davis. Timlin’s vocal is provided by Marcus Mumford of Mumford & Sons on the soundtrack, but the character is not seen as he committed suicide before the events in the film. Justin Timberlake and Carey Mulligan portray a folk duo, Jim & Jean, based on the real life Jim and Jean (Jim Glover and Jean Ray) who were also one of the inspirations for Eugene Levy and Catherine O’Hara’s Mitch & Mickey characters in Christopher Guest’s A MIGHTY WIND.

One of the film’s catchiest moments, to Davis’s chagrin, occurs when Jim and Jean join Stark Sands as clean cut military man/folk singer Tom Nelson onstage to sing the popular folk song “Five Hundred Miles,” written by Hedy West. There also seems to be some Peter, Paul and Mary action in this bit.

Stark Sands’ Nelson is loosely based on folk singer Tom Paxton (confirmed by Nelson singsing Paxton’s “The Last Thing on My Mind” at the Gaslight), Ramblin’ Jack Elliot is represented by Al Cody (played by Girls’ Adam Driver), and John Goodman’s Roland Turner is somewhat based on Doc Pomus, who wrote the hits “Save The Last Dance For Me” and “This Magic Moment” (and was profiled in the biodoc A.K.A. DOC POMUS). Then again, some are surmissing that Goodman's Turner is modeled on Dr. John.

One thing many critics have agreed on is that one of the musical highlights of the film is “Please Mr. Kennedy,” a purposely hokey protest song written by Timberlake’s character that Davis reluctantly plays guitar and sings back-up on because he needs the money. The song is based on a few similar songs from the early ‘60s such as “Please Mr. Kennedy Don't Send Me Off to Vietnam” so this is why, as amusing and well performed as it is by Isaac, Timberlake, and Driver, the song won’t be eligible for an Oscar nomination.

As for the movie capturing the moment before Bob Dylan broke big, Dylan's name is never uttered in INSIDE LLEWYN DAVIS but Benjamin Davis, a dead-on Dylan lookalike, credited as “Young Bob” takes the stage at the Gaslight towards the end to sing (actually lip synch to) Dylan’s “Farewell.” 

The song, one of many unreleased Dylan gems from that era, is overheard while Davis gets beaten up in the alley – a signifier of a coming sea change for sure. Incidentally the soundtrack has a different version of the song than is used in the film - a studio outtake of “Farewell” appears on the record while Dylan's Whitmark Demo version appears in the film.

Also significant is that Dylan's “Farewell,” which he adapted from the British folk ballad “Leaving of Liverpool”is a similar song and sentiment to “Fare The Well (Dink's Song),” which appears twice on the soundtrack. These songs about leaving one life for another encapsulate the themes that seem to be hiding under the cold surface of the film.

INSIDE LLEWYN DAVIS is a good example of how the music in the Coen brothers movies continues to be as memorable, or sometimes more memorable, as the imagery, acting, and thorny themes in their colossal canon. Here’s hoping that one day they’ll actually do an old school people-break-out-in-song Hollywood musical, and add that to the genres they’ve tackled.

Until then they’ve given us, as Stephen Root says in O BROTHER, WHERE ART THOU, some “fine a-pickin’ and a-singin’” Fare thee well for now.

More later…

13 Ocak 2014 Pazartesi

Hipnozcu Türkçe Dublaj izle 5.5/10

Hipnozcu Türkçe Dublaj izle 5.5/10


Küçük çocuk, insafsız bir katilin ailesini katlettiği cinayet adnından kurtulan tek kişidir. Üstündeki etkiyi daha da atlatamayan çocuk hâlâ şoktadır. Polis sorgu yapabilmesi için tüm yöntemleri denemektedir. Geriye çözüm psikiyatrist Erik Maria Bark´ı çağırmak olur. Hipnoz aracılığı ile iletişim kurma umudu içerisindedirler. Kurmak istedikleri iletişim çocuğun kaybolan kız kardeşine katilden önce ulaşmak hedefindedirler. Psikiyatrist Erik hipnoz yöntemini yıllar önce yapmış ve birdaha yapmamak için yemin etmiştir.

Olaylar beklenmedik bir yön alınca Erik´in yaşamı da gelişmelerden etkilenecektir. İsveç´in Oscar adayı olan bu nefes nefese gerilim, usta yönetmen Lasse Hallström´ün Salmon Fishing in the Yemen´in hemen ardından çektiği ilk film. Filmin uyarlandığı özgün roman, Türkçe´de de aynı adla yayımlandı.

Gösterim tarihi: 21 Haziran 2013
IMDB puanı: 5.5/10
Yapım: 2012
Oyuncular: Lena Olin, Mikael Persbrandt, Tobias Zilliacus
Tür: Suç, Dram, Gerilim
Senaryo: Paolo Vacirca
Yönetmen: Lasse Hallström
Orijinal İsim: Hypnotisören


Kitap Hırsızı (Altyazılı) izle 7.7/10

Kitap Hırsızı (Altyazılı) izle 7.7/10


7 Şubat 2014′te gösterime girecek/giren olan film, dram ve savaş türündedir. Brian Percival tarafından yönetilen Marcus Zusak tarafından yazılan filmin konusu olarak, Death (Roger Allam), Liesel Meminger’in, İkinci Dünya Savaşı sırasında dokuz yaşındayken bir Alman çalışan sınıf mahallesinde yetiştirilmesinden başlayan hikâyesini anlatıyor. Liesel (Sophie Nélisse) çok geçmeden kitaplarla öyle bir bağ kurar ki onlarla bir tür aşk ilişkisi yaşamaya başlar. Bir süre sonra da kitap çalmaya ve çaldıklarını da üvey babası ve diğelerine getirmeye başlar. Death tarafından kaleme alınan roman 2007’de yayınlanmıştır ve halen de gayet başarılı bir biçimde satışı devam etmektedir.

Gösterim tarihi: 7 Şubat 2014
IMDB puanı: 7.7/10
Yapım: 2013
Oyuncular: Emily Watson, Geoffrey Rush, Sophie Nélisse
Tür: Dram, Savaş
Senaryo: Markus Zusak
Yönetmen: Brian Percival
Orijinal İsim: The Book Thief


Dondorucu-Freezer Hd Türkçe Altyazılı İzle (2014)

Film Özet: Robert (McDermott), sıradan bir adam, kendisi Rus çeteleri tarafından bir sanayi dondurucuda kilitli bulmak için uyanır zaman kendisini insan yanılamaz test bulur. Onlar Robert onlar hakkında neler konuştuğunu hiç bir fikrim var tek sorun onlardan çaldığı $ 8 milyon dolar, döner ısrar .... O Donmak önce onun hayatı için savaşır gibi, gerçeği yavaş yavaş kendini ortaya koymaktadır. Yönetmen Mikael Salomon
Senaryo Tom Doganoglu Shane Weisfeld
Oyuncu Rol Dylan McDermott Robert
Yapım : 2014
Ülke : ABD
Tür : Aksiyon



12 Ocak 2014 Pazar

Paranormal Activity 4 Türkçe Dublaj izle

Paranormal Activity 4 Türkçe Dublaj izle 
IMDB Puanı: 4.4/10 
Sinemalar Puanı: 6.4/10  
Yapım Yılı ve Ülkesi: 2012 – ABD 
Gösterim Tarihi: 19 Ekim 2012 (Türkiye) 
Yönetmeni:Henry Joost , Ariel Schulman 
Senaristi: Christopher Landon 
Oyuncuları: Katie Featherston , Kathryn Newton ve Matt Shively Süresisi: 88 dakika 
Filmin bilgisi ve Konusu : Serinin 4. filminde yine soluksuz korku sizlerleri bekliyor. Bu film de ilk iki filmde yaşanan olayların öncesinde gerçekleşenleri anlatıyor… Ali Rey ve arkadaşı Chloe Cooper evlerinde gerçekleşen paranormal olayları fark etmeye başlar. Hayaletler ve kötü ruhlar hakkında araştırma yaparlar ve kendi hayatlarında çözümlenmemiş bazı durumlar olduğunu anlarlar. Kristi ve Daniel Ray yetim bir çocuğu evlat edinirler. Bir süre sonra çocuğun evlerine güçlü bir şey getirdiğini anlarlar… Fullizlefilmi iyi seyirler diler. FRAGMAN İZLE TEK PART İZLE

Kurt – Loup Türkçe Dublaj izle

Kurt – Loup Türkçe Dublaj izle

Segei 16 yaşınadır ve Ren geyiği yetiştiriciliği yapan büyük bir kabile şefinin oğludur. Sürülerin otlatılması için çıkılan sibirya yolculuğuna ilk defa katılmıştır. Sürünün güvenliği ona emanettir ve kurtlara dikkat etmek zorundadır.
Diğer Adı : LyKos
IMDB Puanı :5.8/10
Sinemalar Com Puanı : 5.9/10
Yapım Yılı :Ülke  2009  Fransa
Gösterim Tarihi: 9 Aralık 2009
Tür : Dram
Yönetmeni: Nicolas Vanier
Senaristi: Nicolas Vanier, Ariane Fert
Oyuncular: Nicolas Brioudes, Pom Klementieff, Min Man Ma
Süresi : 101 Dakika