Monday, February 28, 2011

Can You Use A Prepaid Visa Bangbros

data vs Octopus.


Life is hard - in Hollywood. Marko actor Johnny has a problem: he can really be no time for life: as an actor in demand as he rushes from meeting to meeting, mask impression here, as press conference, photo shoot with bitchy ladies there. The evening is dominated by trips in the hotel bar. Occasionally two scantily-clad dancing girls doing gymnastics on their imported rods by Johnny Markos hotel room. If there is still some time, he meanders aimlessly with his black Ferrari in the city. Johnny's life is filled - with go-getting bored. In fact, he had therefore time for his daughter. But all is not as simple as that. Especially as his sexual life promises nightly highlights.

One of these questions: "Who is Johhny Marko?" exactly that question brings the film star, who seems to have everything, from the concept. Is he the figure, all projecting into it? Is he a womanizer? Is it a hamster in the transmission of Hollywood, his assistant hands him every morning a long time list? Is he a good father, he is a father at all? Johnny has lost its direction in his life. He lives where Countless want to go. In Hollywood Olympus SOMEWHERE is the new film by Sofia Coppola. In the center of a Hollywood star whose life in the rituals of the dream factory has solidified. A luxury problem? Certainly. Man must however point out that Sofia Coppola true with this situation in their subject matter remains. And that's not necessarily bad.
Johnny is a star, he lives in the hotel "Chateau Marmont" on Sunset Boulevard, a house that is as famous as the guests stay there, or even live there - just like Johnny. If he drives through the city, he looks himself in the face, as the oversized billboards announce his next film. At press conferences, he is the focus - must toil with the curious questions of the journalists around .





withdrawn Sofia Coppola directed this story. In a quiet narrative pace, she describes the boring everyday life, which - subtracting fame and money - not overly different from that of other mortals. It is about drudgery, the time between order and difficult to decipher the feeling that there still must be more.
Johnny's 12-year-old daughter, Cleo suddenly breaks into this microcosm of well-heeled empty. Only when brief visit, then permanently. Her mother says goodbye for long, Cleo has to stay with their father. For a brief moment, Johnny's life on the other hand braces. But the smart girl and plenty of cool breaks, the odds quickly. What follows is one of the most beautiful father-daughter stories the cinema to tell for a long time knew
Elle Fanning as Cleo 2010

Sofia Coppola's film is based on quite a triumvirate consisting of her two main characters and her cinematographer Harris Savides. And they do well. Stephen Dorff and Elle Fanning bring credibility and sympathy to the canvas. Especially Stephen Dorff it achieved a remarkable way to make up for the end of his first kick snobbish figure by earth, the inner emptiness of Johnny and Mark explore the hunger for belonging, empathy, according to existing real affection and love.

cinematographer Harris Savides uses for SOMEWHERE back to static medium shot. Photo grafiert-often from the indirect perspective, the actors always anchored in the spaces through which they move. The audience is both the observer and some of the film. This is emphasized again by subjective attitudes, not the usual dramatic knitting patterns are cut accordingly, rather than minute-long sequences in the film; invitations to the thought experiment about the actual state of the character Johnny Marko.

dramaturgy and editing opposed SOMEWHERE in common miraculously conventions. In conjunction with the great Camerawork gets SOMEWHERE something meditative and enraptured. Sleepwalkers, floating - adjectives that describe this fantastic property of the strip inadequate.


98 minutes Director: Sofia Coppola book: Sofia Coppola
evening at the Hotel Man and his hunger for a brief moment of genuine Gück, complicity with a father and daughter. Whether Johnny and Cleo would understand the odd couple Charlotte and Bob the best. Determined Sofia Coppola SOMEWHERE - an honest, clear, great movie.
SOMEWHERE USA 2010
photography: Harris Savides
editor: Sarah Flack
Music: Phoenix Starring: Stephen Dorff, Elle Fanning, Chris Pontius, Michelle Monaghan
(published Revised manuscript text first as a radio review in the "film highlights" from 11.10.2010)

(c) Images: Tobis Film Distribution 2010
Trailer The camera is always present, the doings pursued in silent sympathy, venturing here and there, an extended tracking shot or closely monitored - but at a distance. Selected, planned pictures are there, arranged and completely dedicated to the grandeur of the house in which the story takes. The noble villa of the family Recchi, a respected clan of textile producers in Milan will be enveloped by this snow. The intro of the movie starts celebrating before this picture of a monotone gray, snow-covered city, in panoramic images, only relieved by in grand totals. At times, the colors or black and white drawings. These pictures, stuck-up and through-composed, portray obsessed with detail, the noble, aristocratic family life. Felt almost physically, the hubris of Recchis; full, fleshy, rich is their world.
breathing surfaces formally indulges really is, despite or perhaps because 2D is a striking touch. The entry sequence followed a dinner in a stately villa in Milan. We witness the preparations of the staff, meticulously food is cooked, the seating order tuned prepared the table. The family gradually accumulates, evaluates the day, reads the salmon-colored daily press, the head of the family, the grandparents arrive, chatting briefly with the staff, their fine fur coats lay in his arms. While the mistress of the house, Emma her name, slips into a dressing room in evening dress and help it from her husband leaves.
the world - that's the tragedy of Emma Recchi. She is a confident woman who holds her family of three beautiful adult children. The story does, however, gradually cracks in the family structure, as the grandfather passes his life's work to his son and his grandson. No sooner is the grandfather dead, are the sons and her husband Tancredi Recchi out of the house is in London to hear often from the sale of the company. Loneliness is spreading around to Emma, a loneliness that her previous Life plan is eligible.

accidentally falls into the hands of her an indication that their daughter might well be a lesbian. But that does Emma true only in passing. One of her sons, Eduardo towed to a friend, Antonio, a talented young chef. The film stages the first meeting of Emma and Antonio casually, for Emma it's just a friend Antonios. First, more subtly unravels from this meeting an affair. Ironically, a lunch with a prawn, prepared by Antonio, is for Emma to a kind of awakening experience. It goes without saying that I AM LOVE even the food is celebrated and part of the whole.


The affair between Emma and the cook will develop naturally, and to a dramatic finale a head, which turns on to be cracking all kinds of family relationships as an apocalypse. Always in the center of this is Emma, who absolutely canvas-filling played by Tilda Swinton is I AM LOVE -. a well-composed, weighty drama, a literal epic. This is getting used to - value of experience but in a way not without it. I AM LOVE Camera: Yorick Le Saux Music: John Adams Editor: Walter Fasano (published Revised manuscript text first as a radio review in the "film highlights" from 11.03.2010)
Italy 2009 119 minutes Director: Luca Guadagnino book: Luca Guadagnino, Barbara Alberti, Ivan Cotroneo, Walter Fasano
Starring: Tilda Swinton, Flavio Parenti, Edoardo Gabbriellini, Alba Rohrwacher, Pippo Delbono, Maria Paiato, Diane Fleri, Waris Ahluwalia, Gabriele Ferzetti, Marisa Berenson
(c) Images: MFA + Film Distribution 2010
has gone to one of the parties already. Theo, a man about 50 has been abandoned. Contrite he is sitting home on his dark leather couch, looks a bit taken. He calls someone, a woman. She is not thrilled with his call, he wants to leave them alone. He tried to escape to on the phone everyday, she puts on some point unnerved Changing Places. Airport, in Paris, more Paris Orly airport. We see different people as they enter the airport to pick up their tickets and wait. On a small bench, a man and a woman come into the conversation.
enter into conversation: "Where do they fly?", "Where do they come?" "Why were they here?" - Dialogue between people who know do not imagine one another by their first names and what they carry. Bags, suitcases, coats. Actually, it then remains superficial. But the first couple to see where we come into the gossip. From ignorance of the other is a vague idea about the comparison, only based on his stories. This is here for protagonists and audiences alike.
ORLY - written and directed by German director Angela Schanelec. Their film consists of several such meetings in the waiting area of the airport. Sometimes there are two people who are have never met, sometimes they are mother and son and then a young German couple. Gradually, we come to know they are doing us a picture based on what they tell each other what they do, what gives us the film . And with them, we explore the airport, gradually draw a map in his head, giving the towns name: entrance hall, duty free, cafe But perhaps that is only relevant at first glance.. Much more interesting is what makes the process of waiting in a completely anonymous environment from the figures and in a figurative sense, from us.
In Transit of waiting we are changing in a strange way. We are torn from our usual environment, to ourselves discarded. Our goal is unclear cipher, the place we have left, but it sounds to yet. This is freedom of ourselves temporarily for a moment. This opens up new perspectives, new possibilities. And thus saith the son of one day, his mother what he wanted to say a long time. Thus we see the young German, who left his girlfriend for a little exploring, and in the duty-free shop encounters the woman in the opening scene. You two completely replace unknown, views. Look, hope to make something that will probably never become reality. But this is precisely here, in transit, seems entirely possible.
The camera gives us the perspective of the observer. In the medium distance and long focal length ORLY was shot without interrupting the daily operations at the airport or to manipulate. The actors sit like ordinary passengers in the airport to be assimilated by the environment. Long shots with few cuts, a quiet, almost tender film. The full vividness puts that leaves us in the head and pick at the end we thought sunk back.


written & directed by: Angela Schanelec Camera: Reinhold Pre
Who needs the label, which will entitle Angela Schanelec ORLY quiet as a film of the so-called "Berlin School". For ORLY honors are among the "Berlin School" of this label, which is the bombastic German cinema so hated. But actually that's completely irrelevant. ORLY ORLY stands for itself is a great film. ORLY Germany / France 2010 83 minutes
Music: Cat Power ("Remember Me") Editor: Mathilde Bonnefoy Starring: Bruno Todeschini, Natacha Regnier , Mireille Perrier, Maren Eggert, Emile Berling, Josse de Pauw, Jirka Zett, Lina Falkner
(published Revised manuscript text first as a radio review in the "film highlights" from 03.11.2010)
(c) Images: Piffl film distribution in 2010
Thus it is, "As a director and as a writer because you can really only over-lifting, because the phenomenon is facebook in its scope can hardly be estimated. Whether and if so, what implications will facebook for the future of communication, is also hardly conceivable. Furthermore, facebook, such as the Internet itself, abundant unhaptisch and a fortiori for film elusive. A monitor with a blue interface is also only a monitor with a blue interface, even on a movie screen. And trickling columns of numbers from green to blue recolor, dare not even the recreational directors on Youtube.
director David Fincher and screenwriter Aaron Sorkin have decided to have her film THE SOCIAL NETWORK for a remarkably simple and typical cinematic way. They tell about the origins of Facebook by people, by means of heads and destinies. The entry sequence is the direction. The young student Mark Zuckerberg (Jesse Eisenberg) sits with his girlfriend in a bar. The two are hopelessly entangled in an altercation in which Mark eventually loses the thread and meets his girlfriend's head. She then announced abruptly on the partnership. This sequence takes a few minutes, it consists of a constant change of cuts and counter-sections, a veritable war of words.
frustrated flits Mark Zuckerberg then only on the university campus homecoming. The camera follows him to the very long road, enough time for the opening credits. At some point in the image fades in a small blue bar and the word "The Social Network" appears. Actually, at that moment said it all.

Eduardo Severin (Andrew Garfield) and Mark Zuckerberg (Jesse Eisenberg) Nations will be used every day. You have to these dimensions in the film repeatedly call you back in your head, because we actually see all the time just an incredibly well-staged, but simple campus-movie, nerds and nerd among themselves. The young elite, with rich parents, more intelligence than empathy and lots of human corpses under the bed. Is broken by the buzz of two parallel assembly, in which Mark Zuckerberg has to approve of hearings in the complaints of his ex-companions Eduardo Severin (Andrew Garfield) and ehmemaliger fellow students.
the microcosm of the Hollywood elite elite schools have always found attractive. But more than that here is a director fascinated by such an isolated phenomena. David Fincher's films live from the collapse of closed territories in Austell, no matter whether fictitious or not. Whether it's the FIGHT CLUB, it is the involuntary partnership of two policemen in the face of horror in seven, or the delusional search for a serial killer in Zodiac. These islands of madness pull Fincher magically. In THE SOCIAL NETWORK have a lust for fame and money. The other, led by the film character Mark Zuckerberg, are obsessed with their own ideas and the ingenuity with which they can still implement your idea. Extreme characters and create: You can see from the film that its director have felt like in paradise needs. THE SOCIAL NETWORK USA 2010
Mark Zuckerberg (Jesse Eisenberg) voluntary and exhibitionists. And they effectively ignore how miserable you can be lonely in the presence of hundreds of virtual friends. David Fincher's THE SOCIAL NETWORK and his film character Mark Zuckerberg unmistakably call to mind how this feels loneliness. A great piece of cinema!
121 minutes
Director: David Fincher
book: Aaron Sorkin historical document: Ben Mezrich (book "The Accidental Billionaires" / "billionaire by accident") Camera: Jeff Cronenweth
music: Trent Reznor Atticus Ross &
Editor: Kirk Baxter, Angus Wall
Starring: Jesse Eisenberg (Mark Sugar Hill), Andrew Garfield (Eduardo Saverin), Justin Timberlake (Sean Parker), Joseph Mazzello (Dustin Moskovitz)
(published Revised manuscript text first as a radio review of the
film highlights


06.10. 2010) last break fault, does not think it really pay him the money. Troyan, knows what's coming, as his ex-Kompangion out wrong. Finally, he turned professional. And among thieves, there is either loyalty or competition. Competition in this industry is synonymous with danger. IN THE SHADOW, the title of this film. Misel Maticevic (Trojan) Jurisdiction over the action to recover. He eventually succeeds however, violent, but he is effectively back to the player in his own behalf. Through contact to a lawyer to indicate the possibility of a new coup, a van.

The shadow is a thriller, a detective movie, a TV crime that has nothing to do here at all - fortunately. We support a professional in his work, cool and precise Trojan makes his moves. There is never too many names, never know anyone more than necessary. Caution is all because too many pursue their own interests. There is a corrupt cop, there are competitors who do not shrink even from murder. Too many, too close contact could endanger Trojan and vice versa. Inhumane acts of this milieu: the fixation on the prey, money is the only fixed star and drive to their existence. Depressing.
Misel Maticevic (Trojan) The unnoticed in a computer einfrisst and spied its data.
can just as director Thomas Arslan's Trojan act as imperceptible actor, cool and calculating takes his craft and to have suspected a sudden attack already seems if the opposing side has not even thought of it myself. Corrupt policemen, unreliable accomplices so this Trojan must Rumschlag. But where in other films of the outburst comes when the actor is the block to his leg with difficulty is going on, because Trojan on the problem simply. Unemotional, unmoved. One obstacle that will stop him. Trojan is a machine. But he is still in the course of action for us to the real heroes, because around him do nothing more than greed, envy and malice. We will register it, but when it is expected emotional appeal, there are only cool in the Shadow of the calculation. Calculation, which has as its depths, where the force is applied and suddenly and literally strikes.
Misel Maticevic (Trojan), Karoline Eichhorn (Dora Hill man) Voltage. In contrast, a crime scene, even in his few good moments, a horrific farce.




86 minutes director, writer: Thomas Arslan Camera: Reinhold Pre Editor: Bettina Blickwede
IN THE SHADOW D 2010

D: Misel Maticevic (Trojan), Karoline Eichhorn (Dora Hill man), Uwe Bohm (René Meyer, Hanns Zischler (the plan)


Rental: Peripheral
(published Revised manuscript text first as a radio review in the of 06/10/2010)
film highlights


Posted by admin at 3:55 PM

0 comments:

Post a Comment

Subscribe to: Post Comments (Atom)