Tampilkan postingan dengan label Beyond. Tampilkan semua postingan
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Jumat, 02 Agustus 2013

OUTRAGE BEYOND (2012)

OUTRAGE BEYOND (2012)

Tanggal Rilis : 6 October 2012 (Japan)
Jenis Film : Action | Crime
Diperankan Oleh : Takeshi Kitano, Ryo Kase, Toshiyuki Nishida

Ringkasan Cerita OUTRAGE BEYOND (2012) :

The Sanno crime family has grown into a huge organization, expanding its power into politics and legitimate big business. The Sanno?s upper ranks are now dominated by young executives, and the old-guard members are penting up resentment while being pushed to the sidelines. This vulnerable spot in the Sanno hierachy is exactly what anti-gang detective Kataoka has been looking for, as the police force prepares a full-scale crackdown.

With secret plots and dirty tricks, the ambitious Kataoka instigates confl ict between the Sanno and their long-time ally, the Hanabishi, in the hopes that they ultimately destroy each other. But Kataoka?s trump card is the arranged release from prison of Otomo, the rumoreddead boss of a family once crushed by the Sanno. Otomo?s surprise return adds to the deception and betrayal among the families as everyone watches out for the other?s next move. It?s impossible to guess who will come out on top in this fi erce power game. It?s not over until it?s over.

[IMDb rating : 6.8/10]
[Awards : 2 wins & 4 nominations]
[Production Co : Office Kitano]
[IMDb link : http://www.imdb.com/title/tt1724962]

[Quality : HDRip]
[File Size : 450 MB]
[Format : Matroska >> mkv]
[Resolution : 720x304]
[Source : HDRip.H264.AC3-XaW]
[Encoder : nItRo]

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Minggu, 26 Mei 2013

Director’s Cut: Derek Cianfrance Talks ‘The Place Beyond the Pines’

Although he’s best known for directing the deeply dark and remarkably affecting “Blue Valentine,” director and screenwriter Derek Cianfrance got his start in the cinematic world through making documentaries about a variety of subjects. Whether it was catching up with degenerates or exploring the dark underbelly of society, he found plenty of stories worth telling in a more traditional form, including this month’s three-part drama, “The Place Beyond the Pines” which re-teams Cianfrance with his “Blue Valentine” star, Ryan Gosling. We recently caught up with Cianfrance to discuss filmmaking, the importance of the film “Creepshow” and the deeply rooted shame of Ryan Gosling.

Amanda Mae Meyncke: “The Place Beyond the Pines” seems at times like it’ll be heist movie, but then it’s three separate stories that get equal weight — it’s kind of an anthology. Horror movies are doing that a lot these days. Is that the future of film, all shorter stories tied together?

Derek Cianfrance: For 20 years I wanted to make a triptych, ever since I saw Abel Gance’s “Napoleon” in film school. When I saw that ending with the three screens going on at one time I wanted to make a movie that was three, and you know, “Blue Valentine” was a duet, so the next logical step was to make a triptych. The horror movie thing, the vignettes stories, you know “Creepshow?” I watched “Creepshow” more than any other movie in my life. So maybe “Creepshow” sunk itself into this movie somehow. I was interested in the one, the singularity of this movie, even though it is three different movies, I was interested in the consistency of making a single story out of those stories, how it would all unify into one. The one thing that was really crucial to me in this was the structure, and keeping it linear. There was lots of suggestions in the process of making this film, you know, putting it in a blender. And I’d seen [Alejandro González] Iñárritu do that, I’d seen [Quentin] Tarantino do that, all the way back to D.W. Griffith through “Star Wars,” has done the crosscut. I did it myself in “Blue Valentine,” but for this film, it was about lineage, it was about being haunted by your past, it was about legacy. I felt like it had to go in linear order. I don’t know what the future holds but I’m very excited that it is a fresh movie that audiences have the choice to go see something that isn’t simple a genre film or a heist film.

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AMM: One of the major themes is a deep disappointment and how it can affect what happens next in a person’s life, the sins of the fathers being passed down. The fathers and sons in this movie have strange relationships, and Bradley Cooper’s character is on both sides of that.

DC: To be a parent, you can understand it more. I interviewed a number of police officers and soldiers who had taken lives in the line of duty and who had an incredible difficulty ever relating to their home life again afterwards, the divorce rate amongst cops is huge. Avery’s a guy who grows up in this hierarchy in the city, he’s kind of royalty in this city, his father’s this powerful judge and he’s expected to assume that place that his father has set aside for him, but he wants to be his own man so what does he do? he becomes a cop, he’s never supposed to be a cop, he’s not really good at it. He has this one moment where he acts too eagerly, too full of ambition to become the hero cop, what does he do? He makes this mistake. I think he regrets it, the guy has a child, and Avery has a child, and you start thinking well, it’s not fair. It’s guilt, it’s a toxic shame that takes over him and he feels corrupted inside and he can’t deal with himself anymore, so what does he do? He deals with the corruption all around him instead of the corruption inside of him. I think it’s a very human thing, it’s part of the human condition if you’ve ever killed somebody. [pause] Which I haven’t. But my research shows.

AMM: This was your second time working with Ryan Gosling, He’s obviously a huge draw, he’s very popular right now. You de-pretty-fied him in this film, with the tattoos and the bleached hair. Took him out of his element, was he involved in the creation of this character?

DC: He is the guy. He becomes the guy. He called me up one day about six months before we started shooting, and he said “Hey D, let’s do the most tattoos in movie history.” I was like, “You wanna put tattoos on in this movie, huh?” And he says, “Yeah, I want a face tattoo.” And I said, “C’mon man, a face tattoo? That’s really extreme.”

AMM: “I’m trying to sell a movie here!”

DC: No, it’s just a lot to walk around with a face tattoo, and he said “No, face tattoos are the coolest, and this one’s gonna be a dagger and it’s gonna be dripping blood.” And I said “Okay if I was your parent right now, I’d tell you don’t get a tattoo, you’re gonna regret it, but you’re a big boy, you’re the guy, if you want a tattoo, get a tattoo.” Ao he got a tattoo for it. So we’re shooting the movie, first day of production and he comes up to me during lunch and he says “Hey D, can I talk to you for a second?” And then he said, “I think I went too far with the tattoo,” and I said “Well, that’s what happens when you get a tattoo, you regret it, and now you have to live with it. You’re not taking it off, it’s on you, every time you walk into a scene, it’s gonna be the first thing people see and it’s with you, you’re marked.” He was ashamed of it, and that shame played into his character, so when he’s holding the baby for the first time, he’s a marked man, he’s tarnished, he’s tainted, he’s stained, and here’s this baby that’s clean and he doesn’t feel good enough to hold it.

You know the scene when he walks into the baptism? He was never supposed to cry in that scene, Ryan walked in and there was Eva [Mendes] and the baby, and the whole City of Schenectady dressed nicely, and here comes Ryan, walking in with ripped t-shirt, just covered in tattoos and he sits down in a corner, and we’re shooting him, I noticed he was just trembling, just absolutely ashamed, in fear, regretful, and he started crying. I wanted to stop the cameras and give the guy a hug, but you couldn’t and that’s what I’m looking for when I’m making my films, I’m looking for when the acting stops and when the behavior begins. When actors make decisions like that… I”m so thankful that Ryan went as far as he did, cause it created who that guy was.

AMM: The title is intriguing, a very mysterious “Twin Peaks”-y title, it’s the indian name for the city of Schenectady, but I didn’t know that going in. I kept looking for the literal place beyond the pines, and there’s a few pivotal moments where events happen, life altering events are begun deep in the forest.

DC: I feel very close to that feeling of dread in my life, a lot of times I’m a very big worrier, if I didn’t have filmmaking to take my imagination away, my life would be a wreak. The place beyond the pines is imaginary. Yes, it is about Schenectady, but to me, it’s the place where [certain characters] get to at the end of the movie.

AMM: Do you see writing and directing as a way of working out issues in your own life? 

DC: Yes. [Long pause, smile.]

AMM: [laughs] Good answer!

DC: [smiles] There’s no elaboration on that.

AMM: You came from a strong documentary background, did that come into play with this film? With “Blue Velvet” it’s a little easier to see…

DC: “Blue Valentine.”

AMM: “Blue Valentine!” Sorry!

DC: When an actor does the script, I’m disappointed. I wanna be surprised, I want to find life. I want to capture life in living, breathing moments, so we never go in and do the script. I never say action, I never say cut, the actors do all the research, for instance, documentary background will go into place when Ryan walks in with all these tattoos, we’ve set up this whole situation, now he walks up, everyone in the church is either looking at him or ignoring him and he’s sitting in the back corner of the church and he’s trapped and he’s on camera and all he wants to do is run away but he has to stay there and that process of filmmaking creates that. There’s another moment where there’s like a four page dialogue scene after they rob their first bank, and Ben and Ryan are counting money, and the lines were something like, Ben says, “Well it’s not a million dollars yet, but if we do it a few more times it will be.” So we’re setting up to shoot that shot, and Ryan played “Dancing in the Dark” on the radio, just to get the mood going, and we got this beautiful moment with Ben with his shirt off, and Ryan with the dog, and cigarette smoke, and Bruce Springsteen, and I never thought Bruce Springsteen would be in the movie, and then all of a sudden, we did four hours of the rest of the dialogue, but that moment was the thing that felt alive. I’m always looking for life.

AMM: Directing puts you in close contact with your own limitations as an artist, did you find that to be true in making this film?

DC: My film professors always told me that as an artist, you must risk failure. I’ve tried to do that my whole life, tried to push to the point where I will fail. In making documentaries many years ago, I interviewed Danica Patrick, and I asked her “How do you drive so fast?” and she said “Well, ever since I was a little girl, I’d always know how fast I could go, I’d always drive as fast as I could, and I’d always push it a couple notches forward. I’d get to the point where I was really in danger of crashing, and that’s how I could continue to go fast.” So, to me, as a filmmaker, “Pines” played right above the speed I could go and I pushed up to that speed, that’s how you evolve. Especially about this film that’s about Darwinism, it’s about evolution, it’s about growth, personal growth. I had to do that.

Categories: Interviews

Tags: Blue valentine, Derek Cianfrance, Director's cut, Ryan gosling, The Place Beyond The Pines

Jumat, 05 April 2013

Review: ‘The Place Beyond the Pines’

This review was originally published on September 10, 2012, as part of Film.com’s coverage of the 2012 Toronto International Film Festival.

“The Place Beyond the Pines” starts its journey with a dark screen and the sound of breathing as our only stimulus. Stunt bike rider Luke (Ryan Gosling) sports a black Metallica t-shirt, and a group of random scribbles masquerading as tattoos adorn his neck. Everything about him seems “danger, with a side of unstable,” and that’s even before he gets into a rounded metal cage with two other stunt riders, revs the engine, and drives upside-down a few inches from another bike headed full speed in the opposite direction. It’s a county fair, and this attraction is probably called something like “The Wheel of Death” or “Moto-Doom.”

Luke is just passing through town. He smokes a lot, and he has the look of the precise sort of person you wouldn’t want to get into a physical altercation with. After the show, he gets a visit from a woman he met the year before, Romina (Eva Mendes). This sentimental reunion sets in motion a chain of events spanning decades and generations. Lives unravel with steam, with the desperate and ugly past gaining furious and consequential ground on the present.

To say more of the plot would be a disservice, as the cleverness of “The Place Beyond the Pines” springs from the atmospheric tension that comes from not knowing how each scene will play out. Those familiar with director Derek Cianfrance (“Blue Valentine”) will likely have some idea of what they’re in for, though “The Place Beyond the Pines” has better pacing and far less muddled themes than his first feature film. There is true beauty in the despair that pervades “The Place Beyond the Pines,” a film plotted out in triptych, a treatise on the moral compromises we all make to protect and provide for our loved ones. In Cianfrance’s world, there are no heroes, only brutal shared truths, protagonists filled with coiled rage, set against menacingly dark hues of Schenectady, New York.

Also Check Out: Stars Take the Red Carpet at the 2012 Toronto Film Festival

Most of all, “The Place Beyond the Pines” deals with how quickly the fragmented bonds of a culture can slip out from underneath lost souls. These bonds seem plenty sturdy — the kindly police are patrolling your street, your friendly neighborhood mechanic has a place you can crash for the night — but all the illusions are swept away when the action of the film is in full throat. Bradley Cooper does serviceable work as young policeman Avery Cross, and Ray Liotta has solid moments as a fellow officer as well. Rose Byrne and Dane DeHaan are also involved, but let’s not say how, other than to note their participation and talents.

The real art of “The Place Beyond the Pines” is the innovative plot construct, which can only be compared to films such as “The Godfather” and “A Prophet.” No, “The Place Beyond the Pines” isn’t as good as either of those films, and it’s not nearly as watchable as either (less overall arc, too weighty throughout), but it certainly heralds the arrival of a vibrant director. It’s not the type of film anyone outside of “serious” film fans will have the patience for, but it’s no less the accomplishment for the total lack of comfort it provides an audience.

Grade: B

Categories: Reviews

Tags: A prophet, Bradley cooper, Derek Cianfrance, Eva mendes, Rose Byrne, Ryan gosling, The godfather, The Place Beyond The Pines, Toronto International Film Festival

Selasa, 01 Januari 2013

Weekly Trailer Report: ‘The Place Beyond the Pines,’ ‘Scary Movie 5′ & More

As we sit recovering from all the happy holiday goings-on, we’ve got a spate of new trailers that are sure to please.

First up is the Ryan Gosling and Bradley Cooper drama “The Place Beyond the Pines,” which isn’t a Twin Peaks-themed feature but instead a thrilling criminal cat and mouse game. Another film we’re getting a first look at is “Scary Movie 5,” starring Lindsay Lohan and Charlie Sheen in a stunning bit of self-mockery.

With all these fantastic trailers, there’s something for everyone in the mix. Let us know what tickles your year-end fancy in the comments!

‘The Place Beyond the Pines’

A motorcycle stuntman turns criminal in order to provide for his family, which pits him against a cop determined to solve his crimes.
Starring: Ryan Gosling, Bradley Cooper and Eva Mendes
Release Date: March 20, 2013

‘Scary Movie 5'

The latest entry in the parody series takes on a few of the biggest horror films in recent years.
Starring: Lindsay Lohan, Charlie Sheen and Terry Crews
Release Date: April 12, 2013

‘Aftershock’

A horror film that follows a group of travelers caught in the chaos following a massive earthquake as humans turn against one another in the aftermath.
Starring: Eli Roth, Andrea Osvárt and Ariel Levy
Release Date: 2013

‘The Gatekeepers’

A documentary that interviews six of the leaders of Shin Bet, an Israeli security agency shrouded in secrecy.
Director: Dror Moreh
Release Date:
Feb. 20, 2013

‘Let My People Go’

A young gay Jewish man finds himself back in Paris with his family after a breakup.
Starring: Nicolas Maury, Carmen Maura and Jean-François Stévenin
Release Date: 2013

‘The Other Fellow’

A documentary that explores the trials and tribulations of men who share the name James Bond with one of the most famous spies in history.
Release Date: 2013

Categories: Columns, Trailer Roundup

Tags: aftershock, Let My People Go, Scary Movie 5, The Gatekeepers, The Other Fellow, The Place Beyond The Pines