Poslednji film koji ste (ponovo) gledali

bruno sulak wrote:jebote pre neki dan sam pogledao na preskoke dok sam radio, preko partnerkinog ramena, onaj sf o dvoje na medjuzvezdanom brodu gde se on greskom probudi iz hibernacije pa onda probudi i nju kad se smori i skapirao sam da su producenti postali kao posetioci videoklubova u srbiji. ovo je bas ono: a jel imas nesto sa dzenifer lorens i onim iz guardians of galaxy a da nije rakun vec je glavni i sa su lepi i da se smuvaju a da bude ipak malo i sf.

Летећи Полип wrote:

Odgledao po n-ti put. Volim ja to kad se tip vrati u rodni kraj i vidi da je lokalna fabrika zatvorena, a bogati smoklja otvorio kockarnicu. I onda on njih sve nalupa, i zatvori kockarnicu i ponovo otvori fabriku.

There’s no denying the frequent blunt-force effectiveness of writer-director Ari Aster’s smugly agitating feature debut, Hereditary, which begins with a showoffy shot that slowly rotates around the studio of professional diorama artist Annie Graham (Toni Collette). The camera eventually pushes into one of Annie’s models, which imperceptibly becomes a life-size bedroom inhabited by her husband, Steve (Gabriel Byrne), and their pothead son, Peter (Alex Wolff). This isn’t the last time spaces, and the spaces within them, will be utilized in unnerving, disorienting fashion. (Note, for instance, the many establishing shots of the Grahams’ isolated woodland home that alternate between real-world and miniature exteriors.) Yet the overall effect is gloomy and humorless, as if Aster is doing a stone-faced gloss on the Wes Anderson-parodying SNL skit “The Midnight Coterie of Sinister Intruders.”

SNL Wes Anderson from Hybrid Collective on Vimeo.