Dejan Ognjanović nominovan za Rondo Haton nagradu!

Sajt Art-anima javlja:

Nedavno su objavljene nominacije za 14. godišnju Rondo Haton nagradu, koja se dodeljuje za doprinos proučavanju i popularizaciji klasičnih dela horora. Ovo priznanje postoji od 2002. godine, a dodeljuje se nakon glasanja na kome učešće mogu uzeti svi ljubitelji horora. Svaki od predloženih kandidata, nominovan je zbog naročito značajnog rada ili dostignuća u 2015. godini.

Kuriozitet za srpsku scenu fantastike, predstavlja činjenica da se među nominovanima nalazi i Dejan Ognjanović, jedan od najvrsnijih domaćih poznavalaca horor žanra, pisac i urednik brojnih izdanja, nezaobilaznih kada je reč o horor filmu ili literaturi.

Ognjanović je zavredio nominaciju za Rondo Haton nagradu obimnim tematom o Hauardu Filipsu Lavkraftu, koji je objavljen u najpoznatijem svetskom horor magazinu Rue Morgue (br. 161), iz novembra 2015. godine. U nominaciji stoji: „In three articles, including an expert roundtable, H.P. Lovecraft's work is invoked anew.”

Članak pod naslovom „The Greatest Old One“ napisan je povodom 125 godina od rođenja Lavkrafta, a pored Ognjanovićeve uvodne reči, čine ga osvrti na lik i delo velikog pisca, koje su dali njegove kolege a naši savremenici Tomas Ligoti, Čarls Stros, Brajan Hodž, Sajmon Strancas, kao i stručnjaci S.T. Džoši, Stiven Džons i Džefri Vajnstok. Svi oni odgovorili su na pitanja zašto je važan Lavkraft, kakva je suština njegovih priča, zašto je sada popularniji nego ikada pre, zašto mnogi fanovi žele proširenje njegove mitologije itd… Pored toga, Ognjanović je autor još dva članka koja su deo tog temata – o Lavkraftu iz ženskog ugla (uz pomoć istaknutih urednica i spisateljica) i o Lavkraftu na filmu (uz razgovor sa dvojicom vrednih filmadžija).

Glasanje za nagradu Rondo Haton otvoreno je do 10. aprila 2016. godine. Potencijalni glasači treba da svoj glas pošalju putem mejla na adresu: taraco@aol.com. Iako se nagrada dodeljuje u 27 kategorija, organizatori napominju da nije potrebno glasati u svakoj od njih.

 

            Evo više detalja o ovom glasanju:

All voting is by e-mail only.  Simply copy this ballot (cut-and-paste works fine) and send an e-mail with your picks to me, David Colton, at taraco@aol.com by Sunday night at midnight, April 10, 2016.

-- You can send a quick e-mail, or you can cut-and-paste the ballot and highlight your choices, or place an X next to your choices; or you can type your choices in an e-mail. And no, you do not have to vote in every category.

-- One vote per person, please. Every e-mail must include your name to be counted.  All votes are kept strictly confidential. No e-mail addresses or personal information will ever be shared with anyone.

            Ne znam za vas, ali evo kako ću ja glasati ove godine:

14TH ANNUAL RONDO HATTON 

CLASSIC HORROR AWARDS 

  

1. BEST MOVIE OF 2015

-- AVENGERS: AGE OF ULTRON
-- BONE TOMAHAWK
-- BURYING THE EX
-- CRIMSON PEAK
-- EX MACHINA
-- INSIDIOUS CHAPTER 3
-- IT FOLLOWS
-- JURASSIC WORLD
-- KRAMPUS
X-- MAD MAX: FURY ROAD
-- THE MARTIAN
-- STAR WARS: THE FORCE AWAKENS
-- VICTOR FRANKENSTEIN
-- THE VISIT
-- WE ARE STILL HERE
-- THE WOMAN IN BLACK: ANGEL OF DEATH
-- Or write in another choice:

2. BEST TELEVISION PRESENTATION OF 2015

-- AMERICAN HORROR STORY: HOTEL, 'The Ten Commandments Killer,' 12.2.15, FX. With Lady GaGa vamping, the killer is revealed.  'With those blue eyes, I'll be the Countess of whatever you like, baby.'

-- ASH VS. EVIL DEAD, 'Brujo,' 11.21.15, STARZ. Ash and company seek the help of a witch-healer. 'Thirty years ago I took this girl up to a cabin. My life hasn't been the same since.'

-- CHILDHOOD'S END, 'The Children,' 12.16.15, SyFy. The final plan of the Overlords. 'You were about to discover interstellar travel. That would have destroyed you.'

-- DOCTOR WHO, 'The Husbands of River Song,' 12.25.15, BBC America. The Twelfth Doctor is reunited with River Song. 'When you love the Doctor it's like loving the stars themselves. You don't expect a sunset to love you back.'

-- PENNY DREADFUL, 'The Nightcomers,' 5.17.15, SHOWTIME. Patti LuPone guest stars as a Cut-Wife with dreadful prophecies. 'Such incantations are dangerous. You must never speak the Devil's language idly.'

-- SCREAM QUEENS, 'Mommie Dearest,' 11.10.15. FOX. College dean Jamie Lee Curtis encounters the PSYCHO shower scene. 'I saw that movie FIFTY times!'

-- THE STRAIN, 'The Born,' 8.23.15, FX. New vampires raise the stakes.  'There are no myths, professor. Only exaggerations.'

-- SUPERNATURAL, 'About a Boy,' 2.3.14, THE CW. A witch turns Dean into a teenager. 'Word on the street is people kinda taste like chicken.'

-- THE WALKING DEAD, 'Start to Finish,'' 11.29.15, AMC. Moving a horde of zombies takes a sudden turn. 'Your property belongs to Negan.'

-- Or write in another choice:
HANNIBAL

3. BEST CLASSIC DVD/BLU-RAY

-- ARMY OF DARKNESS: COLLECTOR'S EDITION (1992, Shout!)
-- BLACK SABBATH (AIP version, Kino)
-- BLOOD AND BLACK LACE (1964; Arrow)
-- BURN WITCH BURN (1962, Kino)
-- COUNT DRACULA (1970; Severin)
X-- DON'T LOOK NOW (1973, Criterion)
-- FROM A WHISPER TO A SCREAM (1987; Scream Factory)
-- HOUSE OF LONG SHADOWS (1983, Kino)
-- HUNCHBACK OF NOTRE DAME (1939; Warner Video)
-- KWAIDAN (1964; Criterion)
-- NIGHTMARE CASTLE (1965; Severin)
-- PHANTOM OF THE OPERA (1925, 1929; Kino)
-- THE STRANGE CASE OF DR. JEKYLL AND MISS OSBOURNE (1981, Arrow)
-- VOODOO MAN (1944; Olive)
-- Or write-in another choice:

4. BEST RESTORATION OR UPGRADE

-- ARMY OF DARKNESS: COLLECTOR'S EDITION (1992, Shout!) Four versions, including original opening and ending.
-- BLACK SABBATH (Kino), American AIP version includes Karloff's voice.
X-- BLOOD AND BLACK LACE (1965; Arrow), restored from original negative.
-- COUNT DRACULA (1970, Severin), Much improved transfer restores scene of mother seeking her baby at castle.
-- HOUSE OF LONG SHADOWS (1983), much improved transfer from earlier versions.
-- JOURNEY TO THE CENTER OF THE EARTH (1959; Twilight Time). 4K upgrade.
-- THE MASK 3D (1961, Kino), Offered in 3D version.
-- TALES OF TERROR (1963, Kino), pristine high-definition version.
-- VOODOO MAN (1944; Olive), original title card, high-definition upgrade
-- Or write-in another choice:


5. BEST COMMENTARY

-- BLACK SABBATH (AIP version); BLOOD AND BLACK LACE (1964, Arrow), Tim Lucas
-- BRAM STOKER'S DRACULA (Sony), Director Francis Ford Coppola.
-- BURNT OFFERINGS, Richard Harland Smith
-- HOUSE OF LONG SHADOWS, director Pete Walker
-- INVADERS FROM MARS (1986, Shout!), director Tobe Hooper, Michael Felsher.
-- JOURNEY TO THE CENTER OF THE EARTH, actress Diane Baker, Nick Redman, Steven C. Smith
-- KWAIDAN, Stephen Prince
-- THE MASK (1961), 3D historian Jason Pichonsky
-- THE MONSTER THAT CHALLENGED THE WORLD, Tom Weaver and David Schechter
-- NIGHTMARE CASTLE, Barbara Steele and David DelValle
-- THE OBLONG BOX (1969, Kino), Steve Haberman
X-- PEOPLE UNDER THE STAIRS (1991, Scream Factory), director Wes Craven
-- SCREAM AND SCREAM AGAIN, David Del Valle and Tim Sullivan
-- THE STRANGE CASE OF DR. JEKYLL AND MISS OSBOURNE, director Walwrian Borowczyk
-- Or write-in another choice:


6. BEST DVD EXTRA

-- ARMY OF DARKNESS (1992, Shout!). 'Medieval Times' making-of documentary.
X-- BLOOD AND BLACK LACE, 'Psycho Analysis,' 55-minute documentary.
-- BURN WITCH BURN (Kino), interview with actor Peter Wyngarde
-- COUNT DRACULA (1970), 'Cuadecuc, Vampir,' an experimental film of Christopher Lee and other on-set images and effects.
-- COUNT YORGA, VAMPIRE (1969, Twilight Time) Tim Sullivan, David DelValle recreate lost Robert Quarry interview.
-- FROM A WHISPER TO A SCREAM (1987, Scream), 'Return to Oldfield,' making-of documentary directed by Daniel Griffith.
-- GHOULIES (1985; Scream Factory). 'From Toilets to Terror,' making-of documentary.
-- PHANTOM OF THE OPERA (silents, Kino). Excerpts from 1930 sound version.
-- QUEEN OF BLOOD (1966, Kino), 'The Russians Are Coming: Robert Skotak on Queen of Blood.'
-- SPIDER BABY (Arrow), 'The Host,' 30-minute film with young Sid Haig directed by Jack Hill.
-- VAMPYROS LESBOS (1971, Severin), interview with director Jess Franco
-- Or write-in another choice:

7. BEST INDEPENDENT FILM 

-- BACKCOUNTRY, directed by Adam MacDonald. Terrors in the Canadian wilderness.
-- DANNY JOHNSON SAVES THE WORLD, directed by Christopher M. Mihm. Suburban Danny battles robots, aliens
-- DRACULA A.D. 2015, directed by Joshua Kennedy. The Count is resurrected in this homage to Hammer films.
-- EXTRAORDINARY TALES, directed by Raul Garcia. Five animated Poe stories; narrators include Lugosi, Lee, Corman.
-- FRANKENSTEIN VS. THE MUMMY, directed by Damien Leone. Brain swaps and classic monsters in New York City.
-- THE HALLOW, directed by Corin Hardy. Irish forests yield unspeakable horrors.
-- KILLING POE, directed by Nathan Andrew Jacobs. Five students must conjure up ways to defeat a crazed professor.
-- TALES OF DRACULA, directed by Joseph P. DeMuro and Thomas E. Rice. An homage to Universal and Hammer.
-- TALES OF HALLOWEEN, 10 tales featuring genre talent such as Joe Dante, Adrienne Barbeau, Stuart Gordon.
-- TURBO KID, directed by  Anouk Whissell, Francois Simard, Yoann-Karl Whissell. The apocalypse meets the X-Games.
-- WE ARE STILL HERE, directed by Ted Geoghegan. Inside a house of evil.
X-- WYRMWOOD, directed by Kiah Roache-Turner.  Zombies plague road warriors.
-- Or write-in another choice:

8. BEST SHORT FILM

-- CONVENTIONAL, directed by Karen Gillan (9 mins). A haunting look at an aging scream queen.
-- HEIR, directed by Richard Powell (14 mins). Family secrets unfold on a road trip.
X-- INNSMOUTH, directed by Izzy Lee (11 mins.) Fleeing the reach of Lovecraftian terror.
-- ONCE WHEN I WAS DEAD, directed by Scott W. Perry (19 mins). Struggles of a young artist turn deadly.
-- THEATRE FANTASTIQUE: A POEM OF POE, directed by Ansel Faraj (12 mins). A Halloween special.
-- SEEKING VALENTINA, directed by Armin Nasserri (21 mins). An Iranian writer takes in a mysterious tenant.
-- SLASH HER, directed by Jerry Lentz (3 mins). A woman alone, haunted.
-- SLU T, directed by Chloe Okuno (21 mins). Coming of age takes a horrific turn.
-- SOBREVIVO, directed by Matt Sullivan (34 mins). A woman's battle for normalcy in an apocalyptic world.
-- SPAMMER, directed by John Iwasz and Sanj Surat (8 mins). 'Be careful what you phish for.'
-- TAILYPO, directed by Cameron McCasland (15 mins). Terror in the woods takes a sharp turn.  
-- Or write-in another choice:


9. BEST DOCUMENTARY

-- CREATURE FEATURE: 60 YEARS OF THE GILL-MAN, directed by Matt Crick. Revisiting the Lagoon after all these years.
-- THE CREEP BEHIND THE CAMERA, directed by Pete Schermann. The making of THE CREEPING TERROR.
-- HAIL TO THE KING: 60 YEARS OF DESTRUCTION, directed by Kyle Yount. The Japanese side of Godzilla and kaiju.
-- IT WAS A COLOSSAL TEENAGE MOVIE MACHINE: THE AMERICAN-INTERNATIONAL PICTURES STORY, directed by Daniel Griffith. How AIP changed Hollywood.
-- JACK PIERCE, THE MAKER OF MONSTERS, directed by Strephon Taylor. Detailed biography goes beyond horror films.
X-- LOST SOUL: THE DOOMED JOURNEY OF RICHARD STANLEY'S ISLAND OF DR. MOREAU, directed by David Gregory. The film that wasn't.
-- THAT GUY, DICK MILLER, directed by Elijah Drenner. Hanging with the B-movie's everyman.
-- Or write-in another choice:


10. BOOK OF THE YEAR

X-- THE ART OF HORROR: An Illustrated History, by Stephen Jones (Applause; hardcover, 260 pages, $40). Frightful images from film, pulp and more.
-- ATOMIC DREAMS AND THE NUCLEAR NIGHTMARE: The Making of Godzilla, by Peter H. Brothers (CreateSpace, softcover, 348 pages, $20). From allegory to special effects and Japanese sources, the monstrous story.
-- THE BLACK CAT, by Philip Riley and Gregory Mank (BearManor Media, softcover, 124 pages $19.95). Production notes and analysis of Edgar Ulmer's profane classic.
-- BRIDE OF HA-HA HORROR, by Monstermatt Patterson (Mystery&Horror, softcover, 216 pages, $12.95). Old-fashioned monster laffs.
-- BRIDE OF THE MONSTER, by Gary D. Rhodes with Tom Weaver (BearManor Media, softcover, 292 pages, $24.95). A 'Scripts in the Crypt' look at Ed Wood's Lugosi feature.
-- CLASSIC HORROR FILMS AND THE LITERATURE THAT INSPIRED THEM, by Ron Backer (McFarland, softcover, 372 pages, $45). Exploring the literary roots of 43 monstrous legends.
-- CURIOUS GOODS: Behind the Scenes of Friday the 13th, the Series, by Alyse Wax (BearManor Media, hardcover, 490 pages, $37). A look back at Crystal Lake of the 1987 TV series.
-- FORGOTTEN FACES OF FANTASTIC FILMS, by James T. Coughlin (Midnight Marquee, softcover, 258 pages, $25). Profiling 22 familiars who breathed life into classic horrors.
-- FORGOTTEN HORRORS VOL. 7: Famished Monsters of Filmland, by Michael H. Price with Jan Alan Henderson and John Wooley (CreateSpace, softcover, 280 pages, $25). Obscure and atomic monstrosities from the 1950s exhumed.
-- ITALIAN GOTHIC HORROR FILMS 1957-1969, by Robert Curti (McFarland, hardcover, 220 pages, $39.95). Director by director, the golden age of giallo and more.
-- MONSTER MASH: The Creepy, Kooky Monster Craze in America, 1957-1972, by Mark Voger (TwoMorrows Publishing, hardcover, 192 pages, $36). Revisiting the colorful first wave of the monster boom.
-- RECOVERING 1940s HORROR CINEMA, edited by Marco DeGiglio-Bellemare, Charlie Elbe, Kristopher Woofter (Lexington Press, hardcover, 378 pages, $100). Essays probe the noir-tinged world of midcentury horror.
-- 70S MONSTER MEMORIES, compilation (WeBelongDead, softcover, 400 pages, $50). More than 70 photo-filled chapters on horror's day-glo decade.
-- SKETCHY THINGS: The Art of Frank Dietz (sketchythings, softcover, 176 pages, $50). Classic monsters rendered in classic styles.
-- SO DEADLY, SO PERVERSE: Fifty Years of Italian Giallo Films Vol. 1 and 2, by Troy Howarth. (Midnight Marquee,softcover,  228, 234 pages, $45 each). Analysis of Italian chillers from 1963-2013.
-- TASTE THE BLOOD OF MONSTER SERIAL VOL. 3, compiled by Wallace McBride (CreateSpace, softcover, 222 pages, $11.99). Collinsport Historical Society's look at vampires.
-- TOD BROWNING'S DRACULA, by Gary D. Rhodes (Tomahawk Press, softcover, 376 pages, $35). A Lugosi scholar's examination of the power and myths behind the classic film.
-- WILLIAM CAMERON MENZIES: The Shape of Films to Come, by James Curtis (Pantheon, hardcover, 432 pages, $40).  Biography of the art director who changed the movies.
-- Or write in another choice:

11. BEST MAGAZINE OF 2015

-- Cinema Retro
-- Classic Monsters of the Movies
-- Delirium
-- Diabolique
-- Famous Monsters of Filmland
-- Fangoria
-- Filmfax
-- Freaky Monsters
-- G-Fan
-- HorrorHound
-- Little Shoppe of Horrors
-- Mad Monster
-- Mad Scientist
-- Monster!
-- Monster Bash
-- Phantom of the Movies Videoscope
X -- Rue Morgue
-- Scary Monsters
-- Scream (UK)
-- Screem
-- Shock
-- Shock Creatures
-- Video Watchdog
-- We Belong Dead
-- Or write in another choice:

12. BEST ARTICLE (Please choose two; one will win)

-- 'Along Came a Spider,' by Tom Weaver. CLASSIC IMAGES #487. 60th anniversary look at Tarantula.

-- 'Barbara Steele: The Beauty of Terror,' by Daniel Riccuito, David Cairns and Jennifer Matsui, FANGORIA #342. A spotlight on horror's dark presence.

-- 'The Carradine Ten,' by Gregory Mank, MONSTER BASH #25. How the actor used B-movies to finance his 'Shakespearean Players.'

-- 'Christopher Lee: He May Not Have Been Who You Might Have Thought He Was,' by Tom Johnson, LITTLE SHOPPE OF HORRORS #35. Personal encounters by a Hammer historian.

-- 'The Family Is Toast: The Making of Burnt Offerings,' by Richard Harland Smith, SCREEM #31. From Bob Fosse to Bette Davis.

-- 'Female Characters in Kaiju Films,' by Peter Lovold, G-FAN #109. Timid Emiko and the Twins gave way to aliens and G-fighters.

-- 'Forrest J Ackerman, The Wizard of Glendower Avenue,' by Deborah Painter, CLASSIC IMAGES #480. Remembering the man behind the monster boom.

-- 'Frankenstein: The Australian Connection, Pts. 1-3,' by Daniel Best, MONSTER! #15, 17-18. The battle to air the classic films on TV down under.

X-- 'The Greatest Old One,' by Dejan Ognjanovic, RUE MORGUE #161. In three articles, including an expert roundtable, H.P. Lovecraft's work is invoked anew.

-- 'It Ain't Legend: Mangling Matheson,' by Stephen R. Bissette, MONSTER! #13. The failed attempts to bring I Am Legend to the screen.

-- 'The Last Days of the Deuce,' by Joe Kane, VIDEOSCOPE #94. Recalling the demise of grindhouse double-bill moviehouses on 42nd Street.

-- 'Life, Death and Tasha Yar,' by David McDonnell, STARTREK online.  The former editor of STARLOG's poignant encounter with Denise Crosby.

-- 'The Making of The Phantom of the Opera,' by Bruce G Hallenbeck, LITTLE SHOPPE OF HORRORS #34. The fight to film Hammer's 1962 opera house ghost.

-- 'The Melody Is a Scream! Horror Musicals,' by Jessica Dwyer with Nathan Hanneman, HORRORHOUND #52. From Sweeney Todd to Re-Animator, a survey of more than 30 musical horrors.

-- 'Pale Gaze,' by Christopher Bruno, DIABOLIQUE #23. Look into the French madness of 'Eyes Without a Face.'

-- 'Remembering Christopher Lee,' by Justin Hamelin, RAVENOUS MONSTER ONLINE. Detailed look at horror icon's career.

-- 'Reunions in the Dark,' by Jerry Boyd, SCARY MONSTERS #95. The sometimes tortured history of Dark Shadows conventions.

-- 'Rodan, The Flying Monster,' by Martin Arlt, MAD SCIENTIST #30. How Toho's second great kaiju was hatched.

-- 'The Scary on Scary Skin,' by Mark C. Glassey, SCARY MONSTERS #99. The science behind synthetic flesh, alligator skin and faces of marble.

-- 'The Shining/Room 237,' by Eric Somer, VIDEO WATCHDOG #178. Checking in again to Kubrick's haunted hotel.

-- 'Stop-Motion in Motion,' by Allen A. Debus, SCARY MONSTERS #95. Examining the earliest monster animations (Evolution and Slumber Mountain).

-- 'Take Me to the Orher Side/Ghost Writers,' by April Snellings, RUE MORGUE #160. The true and fanciful history of the Ouija board.

-- 'The 12 Biggest Myths of Classic Horror Films, Parts 1-3,' by Gary Don Rhodes, FILMFAX #140-142.  From Dracula to censorship, puncturing long-held beliefs.

-- 'Vincent Price: I Like What I See,' by Tim Lucas. VIDEO WATCHDOG #179. A watchdog's look at the flood of Price films on disc.

-- 'What Bride of Frankenstein Can Teach Today's Filmmakers,' by Peter Martin, FAMOUS MONSTERS #281. How James Whale invented a new take in his sequel.

-- 'When Famous Monsters Gave In to the Force,' by John Harrison, MONSTER! #23. How Star Wars mania pushed monsters to the back pages.

-- PLEASE FEEL FREE TO VOTE FOR TWO ARTICLES ABOVE (one will win)


13. BEST INTERVIEW (Award goes to interviewer)

-- Mel Brooks, on Young Frankenstein, interviewed by David Weiner. FAMOUS MONSTERS #277.
-- Bruce Campbell on ASH VS EVIL DEAD, interviewed by Jessica Dwyer. HORRORHOUND #53.
-- John Carpenter, on his movie soundtracks, interviewed by Chris Alexander. FANGORIA #339.
X-- Roger Corman on Frankenstein Unbound, interviewed by Michael Doyle, RUE MORGUE #160.
-- Jamil Dehlavi, director of Christopher Lee's Jinnah, interviewed by Tony Earnshaw. WE BELONG DEAD #17.
-- Donnie Dunagan, interviewed about Karloff, Rathbone and Bambi, by Jan Alan Henderson, FILMFAX #141-142
-- Drew Friedman, artist, interviewed by Thom Shubilla, SCREEM #30.
-- Laurel Goodwin, the original yeoman in Star Trek pilot, interviewed by Mark Berry, VIDEOSCOPE #93
-- Alejandro Jodorowsky, cult director on his career and terror, interviewed by Max Weinstein, DIABOLIQUE #24,
-- Doug Jones, on playing monsters and aliens, interviewed by Don Vaughan, VIDEOSCOPE #94-95.
-- Koichi Kawakita, effects work on numerous G-films, interviewed by J.D. Lees, G-FAN #108.
-- John Logan, creator of Penny Dreadful, interviewed by Joe Moe. FAMOUS MONSTERS #279.
-- Terry Moore, on Mighty Joe Young and Howard Hughes, interviewed by Anthony Petkovich. FILMFAX #140.
-- Sharon Smyth, Dark Shadows' youngest ghost, interviewed by Rod Labbe, SCARY MONSTERS #95.


14. BEST COLUMNIST

-- Diary of the Deb, by Debbie Rochon, FANGORIA
-- The Doctor Is In-Sane, by Dr. Gangrene, SCARY MONSTERS
-- File 770 columns, by James H. Burns, FILE 770 online
-- Fright Gallery, curated by Gary Pullin, RUE MORGUE
-- Grey Matters, by Richard Schellbach, MONDO CULT ONLINE
X-- It Came from Bowen's Basement, by John W, Bowen, RUE MORGUE
-- Larry Blamire's Star Turn, VIDEO WATCHDOG
-- Ralph's One and Only Traveling Reviews, by Richard Klemensen, LITTLE SHOPPE OF HORRORS
-- Rondo Remembers, by Ron Adams, MONSTER BASH MAGAZINE
-- Scare-News, by John Skerchock, SCARY MONSTERS
-- They Came from the Krypt, by Jon Kitley, HORRORHOUND
-- Or write in another choice:


15. BEST MAGAZINE COVER

RUE MORGUE # 161

 

16. BEST WEBSITE OR BLOG OF 2015

-- ALL SCI-FI  The talk is pure science fiction.
-- BLOODY PIT OF ROD  From Naschy to gnashing teeth.
-- CLASSIC MOVIE MONSTERS  A resource for archetypal horrors.
-- COLLINSPORT HISTORICAL SOCIETY  Piercing the Shadows left by Barnabas Collins.
-- DAY OF THE WOMAN  The feminine side of fear.
-- DREAD CENTRAL    Horror's daily front page.
-- DR. GANGRENE'S MAD BLOG  Nashville's mad doctor.
-- FILM NOIR FOUNDATION  Footseps and rain in black and white.
-- FINAL GIRL  Stacie Ponder ponders the peril.
-- FRANKENSTEINIA  Pierre Fournier's journal of all things Frankenstein.
-- THE GOOD, THE BAD AND THE GODZILLA  August Ragone's monster-sized blog.
-- GRAVEYARD SHIFT SISTERS  Women of color are horror fans, too.
-- GROOVY AGE OF HORROR  Fearless comics and fumetti of the past.
-- THE HORRORS OF IT ALL  The amazing 50s horror comics revival lives here.
-- ICONS OF FRIGHT  Horror's online collective.
-- KAIJUMATIC  Home of 1,000 giant monsters.  
-- LATARNIA: FANTASTIQUE INTERNATIONAL  Of Euro and world horror.
-- MONDO CULT  Horror is just part of the edgy culture there.
-- MONSTER MAGAZINE WORLD  Always updated with the latest in print monsters.
-- MONSTERS FROM HELL  The UK's Hammer headquarters.
-- RAVENOUS MONSTER  Consuming horror from books to film.
-- SCARED SILLY  Paul Castiglia's compendium of classic horror comedies.
-- SCIFI JAPAN  The home of Monster Zero News.
-- SERIAL SQUADRON Cliffhangers of the past, discussed and restored.
X-- SHOCK TIL YOU DROP  Horror journalism and previews.
-- SIN STREET SLEAZE  John Harrison's blog of pulp and pop.
-- TERROR FROM THE DAVES  The Mike and Mike of monsters.
-- UNIVERSAL MONSTER ARMY  The ultimate collectors of monstrous toys, models and collectibles.
-- VAMPIRE OVER LONDON  The Bela Lugosi blog.
-- VIDEO WATCHBLOG  Tim Lucas on the magic of movies, music and life.
-- WICKED HORROR  News and grue, but with a wink.
-- WITCH'S DUNGEON  Preserving Hollywood's horrific legacy.
-- ZOMBOS CLOSET  Horrors on the loose.
-- Or write-in another choice:


21. BEST HORROR COMIC

-- BLOKE'S TERRIBLE TOMB OF TERROR (Indy). Anthology of horrors.
-- FRANKENSTEIN UNDERGROUND (Dark Horse). Mignola's Hellboy world darkens.
-- GODZILLA IN HELL (IDW). Bob Eggleton has the great beast trapped.
-- HAUNTED HORRORS (IDW/Yoe). Restoring the lost shudders of obscure 1950s horror comics.
-- JOHN CARPENTER'S TALES FOR A HALLOWEEN NIGHT (Storm King). Horrors with an edge.
-- MONSTER WORLD (American Gothic Press). FM's Philip Kim joins Steve Niles in a hard-boiled horror.
X-- RAT GOD (Dark Horse), by Richard Corben. Arkham meets Native American horrors.
-- THE SHRINKING MAN (IDW), Ted Adams and Mark Torres adapt  Richard Matheson's classic.

            Tako je glasao dr Ghoul. Vi, ako hoćete, glasajte po svojoj savesti, znanju, ukusu, gleda/čitalačkom iskustvu…

FEST 2016: ŠTA SAM VEĆ GLEDAO

  

            U prethodnoj najavi FEST-a 2016. naveo sam preporuke za filmove koji trenutno nisu dostupni nigde drugde, pa ih stoga nisam ni gledao, ali ih smatram vrednim i svakako planiram da ih pogledam. Ako vam je to promaklo, tu listu filmova imate OVDE.

            A sada, evo i o filmovima koje sam i pre FEST-a video, na festivalima, skrinerima, ovde ili onde.           

1) O sledećim filmovima već sam na blogu opširno pisao (klikni na naslov za rivju):

NAJMANJE OSTRVO

LA ISLA MÍNIMA

Španija

NEMAČKI BES

GERMAN ANGST

Režija:

Jörg Buttgereit, Michal Kosakowski, Andreas Marschall

BASKIN

Turska / SAD

IDILA

Slovenija

CAROL

SAD

            2) Sledeće filmove sam već ranije gledao, ali na blogu nisam o njima pisao, pa evo kratkih osvrta.

APOKALIPSA JAKUZA

YAKUZA APOCALYPSE

Takashi Mikee

**(*)

3-

Skromna je ova „apokalipsa“, ali kad nema bolje i pompeznije, može se i ova pogledati – ipak je to Miike, i na velikom platnu, što u Srbiji retko imamo priliku da vidimo. Za moj groš, previše je to proizvoljna dramaturgija, previše „anything goes“, kao i svaki Miikeov i ovaj traje bar 20-30 minuta predugo, kao i (skoro) svaki Miikeov i ovaj ne nudi nikakvu tačku identifikacije odnosno lik vredan saživljavanja pa se stoga postavlja ozbiljno pitanje involvmenta (iliti po naški „why should I care“). Da, ima puno bizarnosti i ludila, ima scena i prizora za prepričavanje, ali čak i ta nabacana bizarnost lišena je fokusa i smisla pa i jačeg efekta baš zato što je toliko „couldn't care less“.

DEMON

Poland / Israel

Režija:

Marcin Wrona

**(*)

2+

Pre svega, uprkos naslovu i zapletu (demonska posednutost), ovo nije horor nego artsy drama na temu zataškavanja i zaborava (jevrejskih) žrtava u Poljskoj, kroz priču o jednoj svadbenoj proslavi koja se totalno raspadne kad mladoženja, inače opsednut rupom kraj porodične kuće gde se sve dešava, bude opsednut još i duhom ubijene Jevrejke... Dakle, 80% filma je klasična srednje/istočnoevropska opsesija svadbama (od „češke škole“ do Kuste i natrag!) a jedva 20% neka poludupasta „opsednutost“ sa histeričnim glupiranjem, brbljanjem na neznanim jezicima i blebetanjem popova (ovde: jevrejskih). Bilo je tu semena za bolji i zanimljiviji film, ali ono jedva da je proklijalo, a o plodovima jedva može biti govora. Možda je to naslutio i sam reditelj, koji se samoubio ubrzo posle premijere. Istina, film nije ni blizu toliko loš da bi se neko zbog njega ubio (hell, na FEST-u možete videti nekoliko znatno ozbiljnijih kandidata za tako nešto, recimo domaću OTADŽBINU Olega Novkovića koja ozbiljno smrdi kao kandidat za najgori domaći film godine…)!

DIPAN

DHEEPAN

France / Belgium

Režija:

Jacques Audiard

**

2

Kanski pobednik (Zlatni Palma!). Hvaljen i nagrađivan reditelj (njegovom PROROKU dao sam trojku pre neku godinu!). Aktuelna tema (migrantska kriza i tamnopute izbeglice u Evropi!). Angažman (siroti ljudi! Vidi gde su došli i kako se odnosimo prema njima!). Znači, standardna FEST-ova publika će ovo da slisti i još da cvili za još. Ali to uopšte ne znači da je film naročito dobar. Ne, nije. Ovo je jedna ravna, pešačka, predvidiva, jednodimenzionalna soc-pričica kojoj treba mnogo vremena da uopšte počne, da krene sa svojim prozaičnim zapletom, a baš nikako ne uspeva da se izdigne iznad nivoa ilustrovanja vesti iz dnevnih novina. Ipak, svi oni koji vole da glume „zabrinutost“ za raznorazne humanitarne katastrofe i ljudska prava putem tvitera i lajkova na Fejsbuku biće idealna publika da i gledanjem ovog filma steknu kredit u svom društvu pozirajući kao, je li, angažovani i zabrinuti članovi društva koji –ipak!- ovde imaju priliku da na jeftin način olakšavaju svoj „white man's burden“ i buržoasku krivicu zbog tamo neke musave sirotinje koju će, načas, da sažaljevaju, bar na rečima. „Znači, žas-u!“

JASTOG

THE LOBSTER

Režija:

Yorgos Lanthimos

**(*)

3-

Ovo počinje ODLIČNO – kao retko viđena satira na ljubavne veze, romanse, zaljubljivanje i srodna međupolna zaluđivanja, sasvim u duhu Embrouza Birsa i Marka Tvena: prva polovina filma obiluje tipično grčkim dead pan ledenim anderstejtmentom u vrlo crnom humoru i pritajenoj parodiji. I to je milina gledati. A onda, na polovini, film obrne list, i ode u neke drugačije, znatno manje zanimljive vode, i postane predug i predosadan, i otupi svoju dotadašnju oštricu tako da, jbg, to više nije onaj film koji smo počeli da gledamo. Ipak, zbog te prve polovine, i zbog opšte začudnosti i bizarne premise (Date or Die!), ovo svakako vredi pogledati. PS: Film je režirao autor OČNJAKA kojeg sam gledao na jednom ranijem FEST-u i već ga odavno opisao opisao na blogu i pokojnom Popboksu.

KRALJICA PUSTINJE

QUEEN OF THE DESERT

Režija:

Werner Herzog

**

2

Moja ljubav prema Hercogu višestruko je iskazivana na ovom blogu (a i šire). Recimo, u mom osvrtu na njegov opus, kao i u kritici njegovog odličnog novijeg igranog filma, THE BAD LIEUTENANT: PORT OF CALL NEW ORLEANS (2009). Ako to imate na umu, onda će vam biti jasno koliki je ovo užas kad ja to nisam mogao da izdržim duže od 20 minuta! Jeste, ugasio sam ovo, prekinuo, bacio, obrisao, nisam mogao da čekam drugi deo film u kojem Nikol Kidmen luduje pustinjom zajedno s punim kombijem travestita! Ne želim da znam za ovu mlaku bezličnu bljuzgu – BOLI me dok gledam nekad velikog autora kako baulja po jednom sterilnom, suvoparnom, staromodno pešački napravljenom filmu koji nije čak ni film nego nekakvo ilustrovanje – banalno protrčavanje kroz život žene koja je zaslužila nešto živahnije, nekonvencionalnije od ovoga!

Dakle, da li se radi samo o prvim znacima senilnosti ili je Hercog, uz to, pod stare dane, sanjao da se zakiti Oskarom, pa je iskalkulisao da će to najlakše dobiti jednim ženocentričnim „epikom“ smeštenim u pustinju i epohu (rani 20. vek)? Ne znam. Nisam imao srca da proverim. Ovo je loše na svakom zamislivom planu.

Ovo je, uz sve ostalo, i jezivo loše režiran film: ugasio sam ga nakon scene u kojoj mladi zaljubljeni par ode da se uspentra na kulu za odlaganje leševa (umesto da ih zakopavaju u zemlju i hrane crve, ovi pustinjaci ih izlažu vazduhu i vetru, i hrane lešinare i tako te ptičurine). Kad sam video kako je bezvoljno protrčao kroz to, koliko je nemaštovito kadrirao taj potencijalno zabavan set-pis, kad sam video koliko je to loše, bezvoljno, nebrižno, skoro amaterski usnimljeno – rekao sam: „Ako tebe nije bilo briga da ovo snimiš kako treba, nije briga ni mene da ti ovo, ovakvo, gledam preko dva sata!“

MAGBET

MACBETH

Režija:

Justin Kurzel

***

3+

Sasvim respektabilna ekranizacija ipak ne dobacuje do poezije originala (hej, znam da je drama, i to moja omiljena; ali kad je Šekspir u pitanju – znam šta govorim: to je POEZIJA!), ali čini koliko se može da filmski prenese taj tekst. Vizuelno spektakularan, film je ipak mestimično prestilizovan tako da, nenamerno, počne da podseća na nešto malo više artističku a manje kič verziju filma 300 i njegove spotovske estetike. Fasbender i Kotijarova su sasvim korektni u ulogama bračnog para Mire Marković i Slobe Miloševića. Napomena: ovo je film pravljen za VELIKO platno, i zato ne propustite retku priliku da ovako nešto odgledate u dostojnim uslovima! Napomena 2: Po meni, najbolja adaptacija Magbeta ostaje Kurosavin KRVAVI PRESTO. Ako nekim slučajem ovaj blog čita neko ko još nije gledao to remek-delo, smesta taj propust ispravite!

OSVETA

EL DESCONOCIDO

Režija:

Dani de la Torre

**(*)

3-

Sasvim korektan akcioni triler visokog koncepta: službenika banke neko uceni tako što mu podmetne bombu u auto u koji je ovaj, da sranje i saspens budu veći, neplanirano natrpao i svoje dvoje sitne dece (da ih poveze u školu). Auto ne sme stati ili će da bude BUM! Umesto toga, ovaj mora da preko telefona, dok vozi, ucenjivaču prebaci neku grdnu sumu para... Slede komplikacije! Postoji tu i natruha društvenog angažmana (po uzoru na Brehtovo: „Nije lopov onaj koji pljačka banku nego onaj ko je drži“) ali, kad se sve sabere i oduzme, film nam ipak potura ovog bankara kao pozitivca i lik za simpatiju, koliko god to bilo nezgodno i zbog njegove zlikovačke profesije i zbog zlikovačke njuške (inače dobrog glumca, Luisa Tosara, kojeg pamtimo iz SLEEP TIGHT). Sve u svemu, uz sve scenarističke i rediteljske egzibicije, ovo je tek samo malo natprosečna španska varijanta Lik Besonovih (producentskih) žvaka-akcijaša za jednokratnu uporabu.

---NASTAVIĆE SE!---

U idućem nastavku, moji osvrti na filmove

BOUND TO VENGEANCE

WOLF TOTEM

IL RACCONTO DEI RACCONTI

SICARIO

PARTISAN

TAG

THE ASSASSIN

CAROL (2015)

**(*)

2+

Evo nam ga još jedan školski primer redovnog godišnjeg pecanja Oskara kroz bavljenje „angažovanim“ temama: ovde – LGBT tematika. I nemam nikakve sumnje da će da se zakiti bar nekom statuetom – jer one su rezervisane baš za ovakve produkte... ovaj, filmove.

Dosledno sam izbegavao ovaj naslov sve dok ga, krajem decembra, nisam video na skoro svakoj jebenoj belosvetskoj godišnjoj BEST OF listi, i onda sam poklekao pred onom MEET THE FEEBLES logikom („eat shit - 50 billion of flies can't be wrong!“); uz to, fabula radnje je obećavala potencijalno dobru melodramu (zabranjena lezbijska ljubav usred mračnih, ksenofobičnih, lovoveštičarskih 1950-ih) pa rekoh, ajd da pogledam, da ne budem „fah idiot“, „horordžija“ itsl. Daj da overim i nešto iz mejnstrima...

Pih. Film nije negledljiv, ali u tome je i poenta sa ovim podžanrom: kao i obično u slučaju „Oskar-mamaca“, podrazumeva se uglačana tehnička izvedba (jao, što su lepi kostimi! Scenografija! Jao, što su pogodili period!... Jao, šta sve milioni dolara mogu da kupe...) i transparentna pitkost i jasnoća izlaganja (samo bez umetničarenja! Ovo treba da se dopadne matorim drtinama s prosekom od 70 godina u guz'ci svakome koji glasa za Oskare!). Dakle, kao fast-fud: lako se guta, lako se vari, dok traje deluje bogzna kako, ali brzo se zaboravlja i nije nimalo hranljivo.

Jeste. Duše tu ima vrlo malo (Golkonda! Golkonda! Duša gde je onda?), sve je suviše iskalkulisano da bi prodisalo i zaživelo kao autentična, dubinski potresna melodrama: ja čak pripremio maramice, željan dobre srcedrapateljske drame, ali one na kraju ostadoše suve.

Šteta, jer da je ovo rađeno sa indie/author pristupom, sa dušom, priča je imala potencijala za nešto stvarno potresno i za antologiju, a ne samo za jednokratno gledanje i za mamljenje te proklete statue koja, dobili je ovi ili ne, ne garantuje trajnost: i garantujem da se ovog filma niko neće sećati za 3-4 godine.

Ipak, za sve nominalne LGBT lajkere i tvitere evo bezbednog načina da pokažu svoju liberalnost i naprednost time što će gledati (i prepričavati) film o toj manjini, i još pride melodramatično odmahivati ručicama na ovu temu: „Znači, žas-u!“ 

Vidim na netu da je pomodno mrzeti Runi Maru. Ne znam zašto, u ovom filmu ona je jedina svetla tačka. Kejt Blanšet (Žena zvana Blonda!), s druge strane, nepodnošljivo je ledena, udaljena, kao da mehanički prolazi kroz tu lezbijsku dramu a u sebi –budući da je i producent ovog filma – računa: „Eh, šta sve moram da radim zbog te proklete statue! Ali dobro, bolje da se valjam u čistoj posteljini sa ovom ljupkom curicom nego s međedom u blatu, kao siroti Leo!“

Inače, koliko je to sve iskalkulisano najbolje se vidi i po tim sterilnim slo-mo „erotskim“ scenama u kojima se eksploatiše samo golotinja manje slavne glumice (Runi!) dok su sise one slavne i izvikane uredno zaklonjene, prikrivene, nevidljive. Da me ne shvatite pogrešno, nije meni do milfa, i zabole me za Kejtine sise (Mara mi je sasvim dovoljna) – stvar je u principu i etitjudu koji se ovde ogoljava kroz njeno neogoljavanje.

Zbog svega toga, ako hoćete stvarno dobru lezbijsku melodramu koja em pršti od strasti i erotike em je iskreno srceparajuća, bolje reprizirajte BLUE IS THE WARMEST COLOR (i moj rivju, OVDE). Paralele su neizbežne, ne samo zbog tematike, nego i zbog činjenice da oba filma sadrže scenu „susreta nakon rastanka, neko vreme kasnije“. U BLUE je to skoro nepodnošljivo bolna i dirljiva scena (evo, suze mi kaplju na tastaturu samo dok je se prisećam), a u CAROL je to, eto, tako, jedna mlaka scenica, ništa za pamćenje, onako, meh. Kao i ceo film.

Ali FEST-ova stoka i Oskarova stoka ima da sliste ovaj generički iskalkulisani produkt kao džukac što bi masni papir od bureka! Da se kladimo?

CLOVERFIELD (2008)

**(*)

2+

            Prethodnih meseci svetom hara najnoviji nastavak franšize o Ratovima zvezda, u režiji Dž. Dž. Abramsa. Eto povoda da se podsetimo njegovih početaka, odnosno filma koji ga je izbacio na svetsku mapu - istina, kao producenta. Ovako sam svojevremeno reagovao na FFF KLOVERFILD.

Odoh u najveći niški IMAX bioskop da odgledam HADERSFILD 2: YOUTH RISING, i vratih se prilično razočaran. Efekti su, istina, značajno bolji nego u 1. delu, dobro je što su u nastavku rešili da idu sa full-fledged monstrumom, umesto cheapo Glogovac degena u originalu, ali sve u svemu, mislim da su džaba krečili – bar u kreativnom smislu, pošto su finansijski već prošli odlično i bez posezanja za masovnim vođenjem đece u bioskope na ovo. 

Topovi grme, rakete prašte, avioni lete, zemlja se trese, zgrade se ruše, sve je to lepo, ali... kao i uvek, jebe ih ljucki faktor. Kad Ktulu bude hodio zemljom, tkivo realnosti ima da se cepa, humane vrednosti da se kidaju i cure na asfalt i u blato zajedno sa prašinom i srčom bezvredne civilizacije, sahranjeni pod naslagama tričarija koje će Veliki Stari, samom svojom pojavom, samom planinom svojih pipaka, da trenutno obesmisli i izbriše, rastoči, razloži na atome.

Koliko je bedan prdavac ovaj Carol J. Cloverfield monster najbolje svedoči podatak da ga niko ne jebe 2% - on urliče i ruši sve u 16, a ljucka gamad i dalje trčkara okolo u potrazi za svojim ljubljenima dok vojska radi jedino što zna tako kako zna (BADABOOM!) a crnci isto tako: kradu televizore i muzičke stubove. Bem ti ja tu i takvu apopa – pakopa – kakapalipsu!

Poenta lavkraftovskog horora je u anti-antropocentrizmu kao ključnoj ideji, i u monstrumima kao agentima stavljanja čoveka u pravu perspektivu prema kosmosu. Idiotizam Kloverfilda je u tome što ni ponor pakla ni vatra groma ne uspevaju da tupavi američki bljuzga produkt izmeste iz njegove debiloidne antropocentrične perspektive: džaba gori more i tresu se planine, kad to nije zbog mega-Godzile, već zbog NJENE (draganine) blizine.

I zato, ovo nije svet u kome ljudi gube razum od same slutnje, u magnovenju, gigantskog monstruma koji im cepa svet-kolevku – u kome pišaju u gaće od njegovog urlika, i u kome im kose osede od jednog pogleda na njega, i u kome im nervi zauvek ostaju oštećeni od jednog stravičnog susreta u tunelu usred mraka sija zvezda arahnidno-osmokraka – ne, ovo je svet u kome ogavno iritantni američki superheroj ne trene okom dok mu brat zagine, a dok ga keva ne pozove telefonom on se ne seti ni da joj se javi, ali zato trči u naručje binladenovskog rusvaja da iz istog izvuče svoju bivšu-sadašnju-vovjekivekovnu.

I još sa sobom vuče 3-4 Sporedna Lika, koji su toliko Sporedni da i nemaju identitet, oni nemaju familije i voljene da zovu telefonom ili brinu za iste, oni nemaju pametnija posla te večeri, nemaju kome u naručje da trče, nego kaskaju za ovim debilom sa vrhuncem u potpuno idiotskoj sceni u kojoj se nađu između čekića američkog vojnoindustrijskog komplexa i nakovnja terorističkog monstruma, i budu razdvojeni, i dok s leve strane čudovište visoko 30 metara ruši zgrade, naš debilni snimatelj skreće pogled desno, na drugu stranu ulice i urla do iznemoglosti ime svog 'prijatelja' kako bi ga pitao je li OK i šta radi i ima li šta dobro na televiziji večeras.

Mislim, jebo te bog Azatot u prkno! Kakvo sranje. (Kad sam kod sranja, čak i scena sa Jozefom Tatićem koji nosi vrata od klonjare u prvom delu bila je smislenija!)

I sad – šta?

Monster muvi od jebanih 84 minuta? Pa kad je to bilo i gde to ima? A od toga bar 10 minuta ide na odjavnu špicu. Plus, tu je početnih 20 minuta za koje stvarno ne shvatam zašto ih vojska drži kao „vojnu tajnu“ i strogo poverljiv materijal koji ne sme da se kopira (tako piše na špici filma, samom početku). Kao da bi neko pa želeo da gleda snimak neke grupe ogavnih njujorških debila kako se unose u kameru i pokušavaju da nešto pametno smisle i kažu o očiglednom kretenu zbog koga su se okupili.

Monster muvi u kome se monster vidi sve ukupno oko 1 minut + možda 2,5 minuta koja popunjavaju njegovi potpuno nesposobni patuljasti paukoliki asistenti koji usred tunela, opkoljene, ne umeju da savladaju 4 bedna čovekolika stvora, nego na jedvite jade malo gricnu JEDNU od njih pre nego što ih ovi išutiraju ko malu đecu.

Bem ti ja takve monstrume!

Budalaština.

I tu čak ni IMAX efekti ne pomažu. Džaba vam tehnologija kad ste degeni. Jebo vas Dž. Dž. Abraxas!

PS: Evo šta sam nedavno o ovom istom filmu napisao na engleskom:

"Abrams has written of Cloverfield that “We live in a time of great fear . . . ” and follows this heady statement by saying “. . . having a movie that is about something as outlandish as a massive creature attacking your city allows people to process and experience that fear in a way that is incredibly entertaining and incredibly safe.” Watching the film’s debris clouds boil along Manhattan avenues, with fleeing people covered in dust, and listening to cell phone calls from moms and terrified girlfriends, and so forth, I wondered if Abrams actually believes the American public has a need to find entertainment value in the agony of the thousands who suffered in 9/11, or if he understands that this is merely another means of desensitizing us. Was it his notion that the next time we confront a terrorist attack, we’ll think of his movie and feel safe? Does he think his Godzilla-meets-Felicity (another Abrams series) scenario provides the opportunity for a meaningful dialogue about the central issue of the day? Or is this inane statement typical of a cynical exploiter who seeks to staple a mask of social commentary to his banal take on contemporary culture, populated by a twenty-something cast with the personalities of Pez dispensers, who screech and urge one another to run and say Oh God, Oh God a lot, perhaps a reaction to the fact that they’re trapped in Yet Another Yuppie Swine (Which One Of Us Dies First) Movie? If the film weren’t so unendingly stupid, it would have pissed me off.

(...)

Despite its uniqueness, the monster never acquires a personality as did the monster in Joon-ho Bong’s The Host. The film is too focused upon its least developed, least compelling, most disengaging element: its human characters."

PPS: Možda će neki pametnjaković da nađe ovaj moj text potpisan imenom Lucius Shepard. Ok, big deal, to je pseudonim koji ponekad koristim kad pišem na engleskom. U svakom slučaju, svakom dobronamernom građaninu biće jasno da su misli i sentiment u gornjim napisima na srpskom i na engleskom potpuno identični, i to je jedino što je zaista bitno.

CLOVERFIELD sucks major ass.