Hehe, supporten hos Axel Music har sendt mig en mail om, at de har bemærket, at jeg ikke gennemførte bestillingen på alle de film, jeg havde i kurven forleden. Det lyder jo næsten helt Big Brother-overvågningsagtigt, men jeg havde selv skrevet sammen med dem forinden, fordi jeg havde et spørgsmål om deres VIP Pass. Jeg endte bare med at droppe filmene og bestille et par bøger hos Amazon i stedet for. Men nu har de så sendt mig en "velkommen tilbage" discount voucher med gratis fragt på min næste bestilling. Det er knageme ondsindet... de lokker jo! :-)
... and in other news: grave robbers pry rifle from Charlton Hestons cold, dead hands.
#16364 LOL De holder åbenbart mere øje med en end man tror. Jeg har tit haft ting i kurven, hvor jeg fortrød i sidste øjeblik (da min fornuft satte ind), men er dog aldrig blevet kontaktet. Hvis de lige frem lokker med gratis voucher, kunne det være man skulle spekulere i det. ;)
"Here I was born, and there I died. It was only a moment for you; you took no notice."
Nyder Eberts ord om Ghostwriter (4 af 4), som i den grad får mig til at glæde mig:
"The Ghost Writer" is handsome, smooth and persuasive. It is a Well-Made Film. Polanski at 76 provides a reminder of directors of the past who were raised on craft, not gimmicks, and depended on a deliberate rhythm of editing rather than mindless quick cutting. The film immerses you in its experience. It's a reminder that you can lose yourself in a story because all a film really wants to do is tell it.
Wishlist hos Axelmusic: http://www.axelmusic.com/wishlist.php?uid=11140
Sidder og fælder en tåre for Navarones Kanoner, som vi åbenbart aldrig får lov at se i en ordentlig version. Den gamle Superbit version stank seriøst af pis og den nye DVD version er kun minimalt bedre. Forklaringen er:
The original 1961 road show release used beautiful Technicolor prints made in London, which gave the film an eye-popping clarity and disguised all of the rough edges in the sets and special effects. When it came time to turn out mass runs of prints for the general release, Columbia shipped the original negative to a bargain-rate lab in New York, where it was reconfigured for normal Eastmancolor printing. This meant re-cutting the negative to insert standard opticals to approximate the Technicolor process's smooth dissolves, etc. No preservation separations were made and the negative wasn't properly protected. General release prints looked okay but not terrific; this reviewer remembers the difference, even as a small child. Poor-quality dupe sections were soon patched in to replace damaged pieces of the negative. Eventually two entire reels would have to be replaced in this way, after that New York lab accidentally destroyed the originals through handling errors. Columbia also discarded the film's original sound elements and stereo tracks. When it came time for Bob Gitt to 'rescue' the movie, there was only so much he could do, as the bad contrast, color and other image flaws were permanently built-in to the only existing elements. A collector's magnetic print was used to recover the original four channel stereo mix.
In other words, the old Columbia studio effectively demolished one of its biggest and most prestigious successes. Colors are never very good in The Guns of Navarone, with purple-ish and pinkish faces and monochromatic blues washing most night exteriors. It's truly a shame, as the film was once a very attractive spectacle. It still plays well, especially on a small screen, but it's no beauty.
Det er en fed film, som kunne have været fantastisk at se i HD. Nu er det hamrende ligegyldigt. :(
Wishlist hos Axelmusic: http://www.axelmusic.com/wishlist.php?uid=11140
Og apropos Ebert igen, så har sydkoreanske Chaser fået premiere og Eberts ord er vise:
When I see a film like this, it reminds me of what we're missing. So many recent movies are all smoke and mirrors. A thriller is opening soon in which the star cannot be clearly seen to complete any physical act in an action sequence. We might as well be reading a comic strip, where our minds are expected to fill in the movement between the frames. You sit there and "The Chaser" unfolds, and the director knows what he wants and how to do it without insulting us. In addition to remaking this movie, Hollywood should study it.
Wishlist hos Axelmusic: http://www.axelmusic.com/wishlist.php?uid=11140
Det er jo blot fordi du får medhold i din had til den hurtige klipning af action scener, og nogen gange har du ret... nogen gange 8-)
I film som Bourne filmene, synes jeg blot det er med til og højne virkningen, self. skal evnen ikke misbruges, men jeg mener stadigvæk at de hurtige scener har sin ret, heller det end at alt går i slowmo konstant 8-)
J. J: "This is one of my Favorite shots." Tom Cruise: "I just love this scene, and the set"
#16361 Skeloboy 16 år siden
#16362 evermind 16 år siden
#16363 Skeloboy 16 år siden
#16364 Thomsen 16 år siden
#16365 Benway 16 år siden
#16366 filmz-Bruce 16 år siden
"The Ghost Writer" is handsome, smooth and persuasive. It is a Well-Made Film. Polanski at 76 provides a reminder of directors of the past who were raised on craft, not gimmicks, and depended on a deliberate rhythm of editing rather than mindless quick cutting. The film immerses you in its experience. It's a reminder that you can lose yourself in a story because all a film really wants to do is tell it.
#16367 filmz-Bruce 16 år siden
The original 1961 road show release used beautiful Technicolor prints made in London, which gave the film an eye-popping clarity and disguised all of the rough edges in the sets and special effects. When it came time to turn out mass runs of prints for the general release, Columbia shipped the original negative to a bargain-rate lab in New York, where it was reconfigured for normal Eastmancolor printing. This meant re-cutting the negative to insert standard opticals to approximate the Technicolor process's smooth dissolves, etc. No preservation separations were made and the negative wasn't properly protected. General release prints looked okay but not terrific; this reviewer remembers the difference, even as a small child. Poor-quality dupe sections were soon patched in to replace damaged pieces of the negative. Eventually two entire reels would have to be replaced in this way, after that New York lab accidentally destroyed the originals through handling errors. Columbia also discarded the film's original sound elements and stereo tracks. When it came time for Bob Gitt to 'rescue' the movie, there was only so much he could do, as the bad contrast, color and other image flaws were permanently built-in to the only existing elements. A collector's magnetic print was used to recover the original four channel stereo mix.
In other words, the old Columbia studio effectively demolished one of its biggest and most prestigious successes. Colors are never very good in The Guns of Navarone, with purple-ish and pinkish faces and monochromatic blues washing most night exteriors. It's truly a shame, as the film was once a very attractive spectacle. It still plays well, especially on a small screen, but it's no beauty.
Det er en fed film, som kunne have været fantastisk at se i HD. Nu er det hamrende ligegyldigt. :(
#16368 filmz-Bruce 16 år siden
When I see a film like this, it reminds me of what we're missing. So many recent movies are all smoke and mirrors. A thriller is opening soon in which the star cannot be clearly seen to complete any physical act in an action sequence. We might as well be reading a comic strip, where our minds are expected to fill in the movement between the frames. You sit there and "The Chaser" unfolds, and the director knows what he wants and how to do it without insulting us. In addition to remaking this movie, Hollywood should study it.
#16369 Hrsvensson 16 år siden
#16370 elwood 16 år siden
I film som Bourne filmene, synes jeg blot det er med til og højne virkningen, self. skal evnen ikke misbruges, men jeg mener stadigvæk at de hurtige scener har sin ret, heller det end at alt går i slowmo konstant 8-)
Tom Cruise: "I just love this scene, and the set"