lol, so schwer ist das auch nicht. du musst da auch nix überweisen . Das geht per Einzug .

Und wie ist das mit TPG?

Hmm, Gilmore Girls ist nicht mein Ding. NYPD Blue ist eine Polizeiserie, die mag ich auch nicht, heh. Aber The Shield werde ich mir dann wohl antun. Ist zwar auch eine Polizeiserie, aber eher unkonventionell glaub ich. Fange Ende des Monats an.

du bestellst die dvd, dann wartest du bis sie zum versand bereit gemacht wird und dann holst du dir die gutschrift mit dem button "gutschrift holen" in der bestellübersicht auf deinem konto. dann gibst du an wo's billiger ist und betest, dass sie gutschrift genehmigt wird..


btw:

Herzliche Gruesse von Amazon.de!

Wir freuen uns, Ihnen mitteilen zu koennen, dass wir Ihnen im Rahmen
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gutschreiben koennen! Diese Gutschrift ist 90 Tage lang gueltig und wird
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verrechnet.

Hmmm, muss ich mir anschauen.

wollt ihr wissen warum ich lost nicht ankucken kann?

dann kannst ab jetzt wieder

M:I-3 hatte ja echt nen beschissenen Start in Ö und D.

Die kommt in der ersten Staffel nur in einer Folge vor und zwar etwa 1 Minute lang. Komm...

Ja, sehr schade, aber wirklich, das Wetter hier ist gerade megageil.

Tja, dann muss Scientology wohl bald sparen...

Hab A Fistful of Dollars heute in einem Special Screening im Kino gesehen. Zum ersten mal wohlgemerkt. Die Kopie (die letzte von diesem Film in Deutschland) war von eher mittelmäßiger Qualität, aber der Film hat mir gut gefallen. An das Meisterwerk The Good, The Bad and The Ugly kommt der nicht heran und gute Bösewichte gibt es leider auch nicht, aber schon clever der Film und die letzten 20 Minuten oder so sind geil. 7,5/10

A Fistful of Dollars - 8/10
For a Few Dollars More - 9/10
The Good, the Bad & the Ugly - 10/10

A Fistful of Dollars - 7,5/10
The Good, The Bad and The Ugly - 9/10

Den zweiten ned gesehen...

So, hab ich gerade fertiggeschrieben:

http://www.worldofkj.com/articles/Other/X3Directors.php

Es geht um X3 und den Regiewechsel.

A Fistful of Dollars - 8,5/10
For a Few Dollars More - muss ich noch mal schauen
The Good, the Bad & the Ugly - 10/10

Warum wird die Schrift eigentlich nicht schwarz gemacht? Ich finde die Artikel immer ziemlich unleserlich

BTW, ich agree nicht komplett. Lasst den armen Mann doch mal machen. Es gibt genug Franchises, wo Regisseurs-Wechsel eher positiv sind. Bestes Beispiel ist doch Harry Potter, wo der neue Input immer positiv ist. Und so schlecht waren die ersten beiden Potters von Cameron ja auch nicht, trotzdem hat sich niemand über den Regie-Wechsel aufgeregt.
Ein T3 mit Cameron wäre auch nicht um Längen besser gewesen und die Burton-Batmans waren zwar besser als die Schumachers, aber nicht gerade Meilensteine des Kinos. Viel wichtiger als der Regisseur sind doch eh die Drehbuchautoren (BTW: Wer hat X-3 eigentlich geschrieben?). Und was haben eigentlich alle gegen Ratner? Okay, die Rush Hours waren keine Meisterwerke aber good, clean fun, und Roter Drache war keine leichte Unterhaltung (und dazu war Ratner ebenso umstritten, da es schon eine exzellente Verfilmung gab). Ist ja nicht so, dass Uwe Boll auf einmal X-Men übernimmt.

Irgendwer hier schon Silent Hill gesehen?

M:I:III (2006)
* (out of four)


SPOILER WARNING IN EFFECT. That classic combination of a film that doesn't make any sense with one that doesn't inspire anyone to invest an iota of emotion in giving a crap, J.J. Abrams' Mission: Impossible III (hereafter M:i:III) isn't convoluted like the first two instalments so much as it's just incoherent and loud. It's the camera-in-a blender-school of action filmmaking: there's so little understanding of spatial relationships that the whole thing plays like that Naked Gun gag where the gunfight is taking place between two people within arm's reach of one another. An extended heist sequence set in Vatican City, for instance, features the four members of IMF ("Impossible Mission Force") hotshot Ethan Hunt's (Tom Cruise) team (Ving Rhames, Jonathan Rhys Meyers, and the requisite hot Asian chick (Maggie Q)) running around in completely anonymous locations, sticking doodads to walls, and confirming to one another that they're "ready" and "in place." But without knowledge of their plan, their location (respective to one another and their goal, whatever that might be), their peril, or the stakes, you're left with four people doing something for some reason, necessitating our willingness to play along with the charade that we know who these people are, what their goal is, and why we should care. Consider a helicopter chase through a wind farm, too, and the many lovely visuals that such an enticing premise suggests--then look to the end-product, which is a lot of tight shots of helicopters in the middle of the night, parts of giant windmills, a bad soundtrack, and multiple decibel screaming about "incoming" and "they've got a lock on us." Who does? And where are they going on that wind farm? And why does the promise of an instrument-factory explosion induce yawns?

They've taken the On Her Majesty's Secret Service route this time around, with Ethan marrying poor screamer/hostage Jules (a thanklessly cast Michelle Monaghan), who, in the prologue, appears to be shot in the head by evil something or other Owen Davian (Philip Seymour Hoffman, looking more than a little like a wax effigy of himself). Davian wants a MacGuffin from Ethan and his mates and is willing to do a little over-acting to get it, causing much globe-trotting to exotic (and curiously deserted) locales where Ethan can do wind sprints while his buddies talk to each other on headsets and stare at computer monitors. A Q-figure emerges in British comedian Simon Pegg's lab-bound Benji while Laurence Fishburne plays Morpheus again and Billy Crudup is Ethan's immediate, ineffectual successor Musgrave. If nothing else, maybe you'll be pleased to see Keri "Felicity" Russell have a bomb go off inside her head in one of two moments in the film where someone you'd like to see cranially-defibrillated actually is cranially-defibrillated.

To say there isn't a hint of character and/or plot development in M:i:III is to imply that some was attempted and that the attempt failed. From the looks of things the picture was always simply meant to be a series of spectacular action set-pieces--and in the staging of said set-pieces, television director Abrams forgot that he had the option of shooting in something other than extreme close-up or respectful medium. There's a nifty-seeming stunt where Cruise slides down the side of a building, yet the way it's shot suggests that he's either going down vertically or, alternately, horizontally, and without knowledge of the particulars (how high? how dangerous?), all you have is a stunt man sliding across a blue screen: something you could simulate by throwing an action figure across a slip-and-slide. More, if you don't care who Ethan is (and are acutely aware that he's indestructible, anyway), and if you don't know what he's doing, for whom he's doing it, and what the time frame of his actions are (though he's given forty-eight hours to accomplish a mission, we don't get back to the countdown until there are two minutes left), then how could you possibly care about anything that happens as a result of his derring-do?

Perhaps all would be forgiven if M:i:III were competently-directed (while M:I-2 is one of the stupidest films ever made, as John Woo is one of the best action directors of the past twenty-five years, damn if it's not beautiful, coherent, auteurist stupidity), but it's a glassy-eyed, dead thing complete with superfluous flashbacks to events we don't care about involving characters we don't recognize, an interminable party sequence in which Cruise trots out his smile like it was a weathered, beaten-down trophy wife, and a smug, self-congratulatory conclusion full of high-fives, victory arms, and shit-eating grins. What they believe they've accomplished is anyone's guess (seriously: anyone have a guess?)--all I know is that M:i:III made me want to take a nap in almost the same way that Episode III bored me to tears. Basic math to say that lots and lots of strobe-lit business multiplied by nothing is still nothing, as well as that the only thing more boring than nothing happening is a lot of nothings happening. Let's see if Casino Royale can do any better.-Walter Chaw






POSEIDON (2006)
ZERO STARS (out of four)



Sort of like Ghost Ship without the gore (and it promptly loses the points it earns for being sans Julianna Marguiles by featuring Kevin Dillon), Wolfgang Petersen's soggy underwater soaper Poseidon starts with a theoretically exciting (but just unintentionally hilarious) set-piece and limps the rest of the way on the standard old slogging-through-wet-hallways bullroar that may be the very definition of "un-exciting." Kurt Russell is Robert, an ex-fireman/ex-New York mayor who appears to have a gambling problem and a contentious relationship with his daughter Jennifer (Emmy Rossum), which will of course be resolved, Mark Twain-style, by a late-in-the-show heroic action. Josh Lucas is Dylan, the rogue ex-Navy man with a plan; Jimmy Bennett is the buck-toothed little idiot who wanders off a lot (and Jacinda Barrett is his long-suffering mom, Maggie); Richard Dreyfuss plays Richard, a suicidal queen planning on leaving his pals with a hefty bill by leaping from the mighty Poseidon luxury liner's galleria after dinner; and all people of colour are meatbags to be fed to the mill whenever someone needs an example of what could happen to the rich whiteys not unfortunate enough to be in steerage.

I like when Jennifer's boyfriend Christian (Mike Vogel) sends stowaway Elena (Mia Maestro) off to get electrocuted early on--just as I enjoyed Richard kicking Elena's boyfriend off his foot and onto a bed of spikes inexplicably sprouting from the top of an elevator shaft. It's not a good thing to be reminded of Sylvester Stallone's appalling Daylight, but Poseidon does so often with its story of insufferable wankers negotiating their way through a flooded obstacle course, following an inarticulate alpha male (Dylan) and suffering predictable--and highly-melodramatic--fatalities along the way. Poseidon ups the ante by including a couple of vocal performances from the Black-Eyed Peas' torso Fergie that make the audience start rooting for the "rogue wave" that eventually capsizes the titular tub to hurry up and sink the damned thing already. Said terrible-CGI event occurs at around the fifteen-minute mark--which is sort of amazing both for its ridiculousness and because I'd already checked my watch about a dozen times by then. The only time the film is funnier is when Lucky Larry the Lounge Lizard (Dillon) gets hit by a train. Don't ask.

Mark "The Cell" Protosevich's screenplay is unspeakably terrible, matched step-for-step by Petersen's increasing inability to shoot anything in a way that generates interest, energy, or heat, much less sense. Take the example of Richard's ferocious Mexi-cide (or is it Blue Collar-cide? You de-cide), and of how the script tickles around the idea that since he does find out that it's Elena's boyfriend he offed to save his own life, in later offering her his foot to grab, it's probably meant as a means towards personal redemption (if mainly reminding me of the identical race/power dynamic in Dreyfuss' shrimping scene from Down and Out in Beverly Hills). But the narrative is such a stripped-down, anaemic thing that even this eye-rolling pass at character development is sad and withered, leaving only the ugly after-image that on the hierarchy of Poseidon's moral compass, rich white gays rank just above poor Argentinean beauties.

It's a feckless parsing of rank stereotypes that ultimately allows the filmmakers to skip past all that messy plot stuff, making way for the bad action scenes, the thundering score, and the worse special effects. Poseidon is a waste of life, a waste of cash, and a step backwards somehow from the original waste of life upon which this is based. Russell steps into Shelly Winters' shoes here, something the film seems to make fun of when someone asks Russell's character how he managed to squeeze through a tight spot; meanwhile, emotionless cipher Lucas earns his action hero stripes by setting his jaw and growling his lines. Take this with M:I:III as examples of why people stay home in droves. It's not the experience, it's the films--and Poseidon is as dumb, inept, and boring as they come.-Walter Chaw

Huh? Die Schrift ist die gleiche wie bei allen Artikeln.

Sagen wir es einfach so...Singer hat The Usual Suspects gemacht. Ratner nicht. Die Drehbuchautoren von X3 sind auch andere als bei X2.

singer hat the usual suspects nicht "gemacht", das script das den film so beliebt gemacht hat ist nicht von ihm. singer hat es zwar kompetent umgesetzt, aber der film an sich ließ mich nicht gerade zum schluss kommen, singer wäre ein regie-wunderkind oder sowas in der art.

Singer hat mit dem Film bewiesen, dass er gut mit vielen Charakteren umgehen kann und jeden einzeln gut behandeln kann. Außerdem hab ich gelesen, dass Singer sehr wohl Einfluss aus einige Skriptaspekte im Laufe der Dreharbeiten hatte.

Harold and Maude - 8/10

Sehr anrührender Film und exzellent von beiden Hauptdarstellern gespielt. Leider fehlte mir irgendwie die Chemie zwischen den beiden, aber ansonsten ein sehr solider Film. Das Ende ist etwas rushed, aber der Film ist schön morbide und mit einer sehr guten Aussage behaftet.