Razno razno razno

kuku wrote:idemo filip i ja u fontanu cim dodje once upon....!!!

Mr. Moonlight wrote:

kuku wrote:idemo filip i ja u fontanu cim dodje once upon....!!!

u današnju slavicu, taman

This is what an updated Home Alone would actually look like. pic.twitter.com/sGj86933LA

— Macaulay Culkin (@IncredibleCulk) August 7, 2019

In honor of my 60th birthday tomorrow, I put together a few lists of top favorites. First up, top 60 films: pic.twitter.com/cJDIAZirRO

— Earvin Magic Johnson (@MagicJohnson) August 13, 2019

kud_genijalci wrote:Prošetam se do Takvuda u Kneza Miloša, ali da bih izbegao jednu poslastičarnicu pre opštine, skrenem u Zahumsku i tu se zajebem, jer posle Žapca ne pređem na stranu Mašinskog već krenem drugom stranom ulice, a tamo raskopaonik i moje raspadnute patike jedva izdržaše. Nikako da pređem ulicu, pre Starine Novaka (ili starca Vujadina, uvek ih mešam) nije bilo moguće i tu pretrčavam ulicu. umalo me ne zgazi neki kiper i ja psujem „gde je prelaz pička mu materina natabanah se po kamenju“ a jedna žena mi dovikuje „kad prelazite na crveno“, koje bre crno crveno kada nema normalnog saobraćaja, a kada stanem na semafor gore ispod hotela Taš – e, tamo zaista nema semafora, trepće žuto, a dole oko onih kratera ispred Poštanske štedionice rade semafori.

Ništa, stignem 40 minuta pred film i taman imam vremena da se pre toga okrepim sladoledom i kolačem (ovog puta izuzetno 1) kod Pelivana. Turistički i po tradiciji nabijaju cene. Ali odličan sladoled. U Takvudu više nisu numerisana sedišta, što mi blagajnica pakosno ne reče. (Ili samo  u sali Merilin Monro nisu?) Ali nema veze. Nekoliko ljudi nije izdržalo film do kraja, ne znam koji su to zombiji – nikada nisam napustio nijedan film i nijednu pozorišnu predstavu. Kada je jedan par oko 95-og minuta izašao (ženski deo je već nekoliko puta odlazio u neke prostorije), nisu zatvorili vrata od sale za sobom (što je za smrtnu kaznu) i desetak minuta je tukla promaja. Ljudi koji ne zatvore vrata od bioskopske sale za sobom zaslužuju Čarlija Mensona da ih istranžira.

Film je odraz starenja kod Tarantina. Bilo je manje torokanja nego što sam očekivao i to je plus. Nikad sineastičniji Tarantino i nikad manje alapačarac. Kao da je film napravio za sebe. Ličilo je na seanse Uroša Đurića – ono prepričavanje prošlosti u beskraj. Neću da vam kažem šta se dogodilo s Mensonom i Šeron, ni u spojleru ni u hiddenu.
Bilo je mnogo ženskih šapica, sve s prljavim tabanima (osim u jednom slučaju), nenegovanih peta i s ožiljcima od kaišića. Hipi žbunje, koje je ipak moralo da se zamišlja. Povremeno poetski film, čak mislim da je nekim ženskim likovima poverio nešto svoje. Ali da je ovog puta želeo da ispriča celovitu priču, mislim da nije. Hteo je da ulovi neki osećaj, neki utisak s neke davne fotografije ili iz nekog davnog filma. Nije bilo dosadnih viceva-eseja (kao o tumačenju teksta pesme "Like a virgin" /ako je to uopšte iz njegovog filma?!/), ovo je povremeno kao „Dejvid Linč iz Irejzerheda do'vatio da rimejkuje Palp fikšn“.

Ovo je i film o drugarstvu. Oduševili su me magnetofoni sa tračicama. Kada mi je umro ćale, nikako nisam mogao da prežalim što je jedan portabl magnetofon iz 1960-ih ostao kod pastorke...  Prodakšn dizajn i art direkšn su se pobrinuli da za samo nekoliko eksterijera nabave gomile automobila i starih buseva.
Ovo je ipak fantazija koja se pravi da je istorijska travestija, jedna setna fantazija, više gorka nego što želi da bude komična. Uvećana prostata čini čuda i od cinika pravi dobroćudnog džina.

Bred Pit je zgodan baja, sada se dvoumim kome da rodim decu: AV-u ili  Bredu. Odavno nisam čuo smeh u bioskopu, večeras se to dogodilo, nepreglasan, ali neki su se pak smejali.
 „There is no point“, kaže Dikaprio a titl kaže „Nema poente“, dok treba „Nema smisla“ i bio je još jedan sličan propust, ali ništa strašno.
U stvari film je tanak i razvučen, narator (rekao bih Kurt Rasel) zbunjuje i oni „kajroni – telopi“ kao u "Džeki Braunu" čak kvare onu tako netipičnu  sineastičnost, ali drugačije valjda nije mogao da spoji film: jer, nema priče, to je putovanje iz sredovečnosti u starost, možda je iskoristio rezultate svoje psihoterapije („Doco, šrinče moj, o, plašim se smrti i starosti“), ali nema veze, meni se sviđa što ima više muzike a manje blebetanja.

„Roman Polanski“ je uveden u film odmah na početku snimcima s leđa, izvanredno, a posle „Stiv Mekvin“ priča kvaziinsajdersku priču o trojci koju čine Polanski, Stoun i njen bivši. I u ima štos: njegova sagovornica veli:
- Ona ima čudan ukus za muškarce, obojica su mali, pametni i talentovani i liče na 12-godišnjake“, a Stiv (koga igra njegov dvojnik Demijan Luis) kaže:
– Yes, I never stood a chance!
Pretpoatvljam da su se u mnogim bioskopima sveta smejali na to. Večeras u Takvudu, ne, ali i zašto bi? Mi smo opterećeni Kosovom. 
Onaj glumac koji je igrao “reditelja Sema“ - izvanredan je.
Kurt Rasel je propao. U stvari, samo su ga stigle godine. Poslednji put sam ga gledao u nekoj akciji gde je glumio spasioca aviona a Stiven Sigal mu je davao uputstva sa zemlje iz „kriznog štaba“ (i to je  bio svojevrstan vic) ali ko zna kada je to bilo, možda i pre 25 godina.

We didn't want to hear about that! We were on an acid trip and the sun was shining and the girls were dancing and the whole thing was beautiful and Sixties, and this guy – who I really didn't know; he hadn't made Easy Rider or anything – kept coming over, wearing shades, saying, "I know what it's like to be dead," and we kept leaving him because he was so boring! ... It was scary. You know ... when you're flying high and [whispers] "I know what it's like to be dead, man."^[3]

Vulture - Jen Chaney wrote:As Rick’s best buddy, Cliff has at least one moccasined foot firmly planted in Rick’s world. But in many ways, Cliff is just a hippie in a Hawaiian shirt, something Tarantino makes a point of conveying. He lives in a trailer parked behind a drive-in theater, which isn’t that many steps up from the abandoned cottages the Manson family occupies on Spahn Ranch. Cliff’s job, when you get right down to it, is just hanging out. His ultra-zen attitude toward everything is pretty hippielike, too. At one point he makes a speech about how he’s never had much ambition and finds joy in the day-to-day. Which, to me, sounds a lot like thinking the important thing is the rainbow.
The first time he sees Pussycat (Margaret Qualley), the Manson follower who eventually guides him to Spahn Ranch, he’s drawn to her, and even flashes a peace sign in her direction. He also has no qualms about buying an acid-laced cigarette from a hippie. The only time he gets suspicious of these young radicals is when he starts to (rightfully) feel sinister vibes coming off of Squeaky Fromme (a barely recognizable Dakota Fanning) and the rest of the Manson group at the ranch. His cowboy wiring gets triggered, and he kicks the crap out of one of them pretty badly.

zvezda je zivot wrote:
rosenbaumov napis o filmu zove se: Tarantino and Trump as Soul-Brothers

brody je tek malo uzdrzaniji s naslovom: Quentin Tarantino's Obscenely Regressive Vision of the Sixties in “Once Upon a Time . . . in Hollywood”

If the guys aren’t quite Don Quixote and Sancho Panza, their companionship nonetheless takes shape within a fundamentally aristocratic social order. Joan Didion, in an essay first published in 1973, described the Hollywood of that era as “the last extant stable society,” and Tarantino’s tableau confirms this view. Life isn’t perfect, but it is coherent. People know their place. They respect the rules and hierarchies. Rick’s neighbors, Sharon Tate and her husband, Roman Polanski (Rafal Zawierucha), live higher up in the canyon (at the end of a gated driveway) and also on the status pyramid. They are regarded not with envy or resentment, but with awe.
The governing virtue in this world is courtesy. The things produced within it are ridiculous, but also beautiful. Residents take seriously things that are objectively silly, which lends a measure of charm to otherwise pedestrian moments. A series of on-set interactions between Rick and two other actors — a leading man played by Timothy Olyphant and a juvenile played by the phenomenal Julia Butters — demonstrate the workings of this code. What they’re collaborating on might look like disposable commercial trash, but making it involves craft and tradition, folk wisdom and spiritual discipline, trust and integrity.
Tarantino’s sense of the movie past is often described as nostalgic. He tends to be seen — by admirers and critics alike — as a film geek, a fanboy, a fanatic cinephile with an encyclopedic command of archaic styles and genres. True enough. But “Once Upon a Time … in Hollywood” shows that he deserves a loftier, possibly more contentious label. It’s the expression of a sensibility that is profoundly and passionately conservative.
John Ford, one of old Hollywood’s greatest conservatives, ended one of his greatest movies with the exhortation to “print the legend.” Tarantino’s answer is to film the fairy tale.