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Usputni kadar Mljeta iz akcijskog trilera “Sivi čovjek” (“The Gray Man”) preslikava režijski pristup braće Russo u najskupljem Netflixovom blockbusteru, teškom 200 milijuna dolara i nadahnutom serijalom romana Marka Greaneyja.

Anthony i Joe Russo su kompjutorski nadodali francuski renesansni dvorac Chantilly na otočić Sv. Marije umjesto postojećeg benediktinskog samostana. To je jedno u nizu računalnih nadodavanja u filmu braće Russo, proslavljene režijom Marvelova blockbustera “Kapetan Amerika: Ratnik zime”, gdje su Anthony i Joe prizemljili stripovski superjunački žanr do akcijskog spektakla špijunsko-trilerske vrste i kaskaderske akcije, kakav se takoreći mogao snimiti i u devedesetima.

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FILM: The Gray Man; akcijski triler; SAD, 2022. REŽIJA: braća Russo ULOGE: Ryan Gosling, Chris Evans OCJENA: ** ½

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Uspjeh tog filma doveo je Anthonyja i Joea do nastavka "Captain America: Civil War" i Marvelovih megaspektakala “Osvetnici: Rat beskonačnosti” i “Osvetnici: Završnica”, koji su frcali od piksela i zarazili braću kompjuterski generiranom slikom (CGI).

Međutim, superjunački blockbuster s natprirodnim likovima i fantazijskim krajolicima iz stripa prirodnije trpi digitaliju od “realističnog” akcijskog trilera kao što je “The Gray Man” s popularnim Ryanom Goslingom (“Vožnja”, “La La Land”, “Blade Runner 2047”) u ulozi špijuna znanog po kodnom imenu Sierra Šest, člana elitne CIA-ine postrojbe koji “postoji u sivoj zoni” i nalazi se u bijegu nakon što, ne znajući, dobije zadatak smaknuti jednog od svojih.

U jednoj od prvih velikih akcijskih scena filma Sierra Šest krade padobran u slobodnom padu iz eksplodirajućeg aviona, podsjećajući na Rogera Moorea i Arnolda Schwarzeneggera iz “Operacije svemir” i “Brisača”. Scena je dobro zamišljena, ali traljavo izvedena zahvaljujući nevjerojatno prozirnim računalnim učincima čak i za pojmove digitaliziranog “Uncharteda”.

Takvi trenuci vraćaju “Sivog čovjeka” natrag na početak novog milenija, kad akcijski blockbusteri, tipa “Umri drugi dan”, nisu mogli bez CGI-ja, a posljednjih godina se vraćaju maksimalno praktičnoj kaskaderskoj akciji, od filmova o Jamesu Bondu i Jasonu Bourneu, preko “Nemogućih misija” do “Johna Wicka” i “Extractiona”, još uvijek najboljeg akcića s logom Netflixa.

Za jedan blockbuster koji želi postati nova akcijsko-špijunska franšiza u stilu Bonda, Bournea i “Mission: Impossible”, “The Gray Man” vizualno ispada bliži generičkim Netflixovim hitovima sa sličnim fotokopirnim nakanama poput “6 Underground” i “Red Notice”, čak i direktno-na-video filmovima u ponekim nedopustivo slabo osvijetljenim scenama za tako velik budžet.

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Da “The Gray Man” ima “bondovske” pretenzije, to je jasno od kodnog imena junaka Sierra Six (“007 je zauzeto”) i Ane De Armas (“Za smrt nema vremena”) u ulozi junakove pomoćnice, špijunke Dani Miranda. Globtroterska akcija zna biti izvrsna kao u “Bondu”, dok braća Russo ne posegnu za CGI-jem u obliku digitalnih kaskadera, dima od eksplozije i tome slično.

Uzmimo za primjer scenu u Beču. Redatelji dojmljivo bildaju očekivanja da će se nešto akcijski spektakularno dogoditi kad Sierra Šest predlaže lokalnim autoritetima da “raščiste trg”, kao da je načuo da je čovjek poslan da ga ubije, odmetnuti plaćenik Lloyd Hansen (Chris Evans), rekao svojim podanicima “Imate moje odobrenje da pokosite sve živo”.

Meci lete na sve strane i kose sve živo i neživo, na scenu stupa i jurišno vozilo, a Sierra Šest se sklanja u tramvaj, koji će biti pretvoren u švicarski sir kad negativci krenu u potjeru za njim i odriješe teške mitraljeze. Kad tramvaj izgubi kontrolu i skrene s tračnica prema obližnjim zgradama, vozilo najednom biva računalno animirano dok po njegovu krovu trči digitalizirana inačica junaka i scena u trenu izgubi prethodnu svježinu, izgledajući kao da je preuzeta iz prvog superjunačkog blockbustera sreda.

Osob(e)nosti nedostaje i crno-bijelom junaku bez nijansi sive, koji je definiran samo kao netko tko ne puca u djecu i, kliše, ima mračnu prošlost, stoga bolje od njega prolazi Lloyd kao "against type" lik za Evansa – zločesti Kapetan Amerika s “jadnim brkovima”.

Gosling je u nedavnom intervjuu izjavio da voli Van Dammea i, posebno, Stallonea, ali Sierra Šest nema osobnost, šarm i karizmu njihovih “larger than life” heroja u glumčevom prvom pravom akcijsko-junačkom izdanju. Ipak, Gosling i braća Russo dobit će još jednu priliku da Sierra Šest postane 007. Netflix je upravo odobrio nastavak “Sivog čovjeka”.

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Zvijezda 'Bridgertona' kao novi Bond?

U sporednim ulogama nalaze se krajnje neuvjerljivi Regé-Jean Page ("Bridgerton"), veteran Billy Bob Thornton i mlada nada Julia Butters, otkriće Tarantinova "Bilo jednom u Hollywoodu". Pagea se, vjerovali ili ne, spominje u kontekstu novog Bonda.

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Usputni kadar Mljeta iz akcijskog trilera “Sivi čovjek” (“The Gray Man”) preslikava režijski pristup braće Russo u najskupljem Netflixovom blockbusteru, teškom 200 milijuna dolara i nadahnutom serijalom romana Marka Greaneyja.

Anthony i Joe Russo su kompjutorski nadodali francuski renesansni dvorac Chantilly na otočić Sv. Marije umjesto postojećeg benediktinskog samostana. To je jedno u nizu računalnih nadodavanja u filmu braće Russo, proslavljene režijom Marvelova blockbustera “Kapetan Amerika: Ratnik zime”, gdje su Anthony i Joe prizemljili stripovski superjunački žanr do akcijskog spektakla špijunsko-trilerske vrste i kaskaderske akcije, kakav se takoreći mogao snimiti i u devedesetima.

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FILM: The Gray Man; akcijski triler; SAD, 2022. REŽIJA: braća Russo ULOGE: Ryan Gosling, Chris Evans OCJENA: ** ½

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Uspjeh tog filma doveo je Anthonyja i Joea do nastavka "Captain America: Civil War" i Marvelovih megaspektakala “Osvetnici: Rat beskonačnosti” i “Osvetnici: Završnica”, koji su frcali od piksela i zarazili braću kompjuterski generiranom slikom (CGI).

Međutim, superjunački blockbuster s natprirodnim likovima i fantazijskim krajolicima iz stripa prirodnije trpi digitaliju od “realističnog” akcijskog trilera kao što je “The Gray Man” s popularnim Ryanom Goslingom (“Vožnja”, “La La Land”, “Blade Runner 2047”) u ulozi špijuna znanog po kodnom imenu Sierra Šest, člana elitne CIA-ine postrojbe koji “postoji u sivoj zoni” i nalazi se u bijegu nakon što, ne znajući, dobije zadatak smaknuti jednog od svojih.

U jednoj od prvih velikih akcijskih scena filma Sierra Šest krade padobran u slobodnom padu iz eksplodirajućeg aviona, podsjećajući na Rogera Moorea i Arnolda Schwarzeneggera iz “Operacije svemir” i “Brisača”. Scena je dobro zamišljena, ali traljavo izvedena zahvaljujući nevjerojatno prozirnim računalnim učincima čak i za pojmove digitaliziranog “Uncharteda”.

Takvi trenuci vraćaju “Sivog čovjeka” natrag na početak novog milenija, kad akcijski blockbusteri, tipa “Umri drugi dan”, nisu mogli bez CGI-ja, a posljednjih godina se vraćaju maksimalno praktičnoj kaskaderskoj akciji, od filmova o Jamesu Bondu i Jasonu Bourneu, preko “Nemogućih misija” do “Johna Wicka” i “Extractiona”, još uvijek najboljeg akcića s logom Netflixa.

Za jedan blockbuster koji želi postati nova akcijsko-špijunska franšiza u stilu Bonda, Bournea i “Mission: Impossible”, “The Gray Man” vizualno ispada bliži generičkim Netflixovim hitovima sa sličnim fotokopirnim nakanama poput “6 Underground” i “Red Notice”, čak i direktno-na-video filmovima u ponekim nedopustivo slabo osvijetljenim scenama za tako velik budžet.

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Da “The Gray Man” ima “bondovske” pretenzije, to je jasno od kodnog imena junaka Sierra Six (“007 je zauzeto”) i Ane De Armas (“Za smrt nema vremena”) u ulozi junakove pomoćnice, špijunke Dani Miranda. Globtroterska akcija zna biti izvrsna kao u “Bondu”, dok braća Russo ne posegnu za CGI-jem u obliku digitalnih kaskadera, dima od eksplozije i tome slično.

Uzmimo za primjer scenu u Beču. Redatelji dojmljivo bildaju očekivanja da će se nešto akcijski spektakularno dogoditi kad Sierra Šest predlaže lokalnim autoritetima da “raščiste trg”, kao da je načuo da je čovjek poslan da ga ubije, odmetnuti plaćenik Lloyd Hansen (Chris Evans), rekao svojim podanicima “Imate moje odobrenje da pokosite sve živo”.

Meci lete na sve strane i kose sve živo i neživo, na scenu stupa i jurišno vozilo, a Sierra Šest se sklanja u tramvaj, koji će biti pretvoren u švicarski sir kad negativci krenu u potjeru za njim i odriješe teške mitraljeze. Kad tramvaj izgubi kontrolu i skrene s tračnica prema obližnjim zgradama, vozilo najednom biva računalno animirano dok po njegovu krovu trči digitalizirana inačica junaka i scena u trenu izgubi prethodnu svježinu, izgledajući kao da je preuzeta iz prvog superjunačkog blockbustera sreda.

Osob(e)nosti nedostaje i crno-bijelom junaku bez nijansi sive, koji je definiran samo kao netko tko ne puca u djecu i, kliše, ima mračnu prošlost, stoga bolje od njega prolazi Lloyd kao "against type" lik za Evansa – zločesti Kapetan Amerika s “jadnim brkovima”.

Gosling je u nedavnom intervjuu izjavio da voli Van Dammea i, posebno, Stallonea, ali Sierra Šest nema osobnost, šarm i karizmu njihovih “larger than life” heroja u glumčevom prvom pravom akcijsko-junačkom izdanju. Ipak, Gosling i braća Russo dobit će još jednu priliku da Sierra Šest postane 007. Netflix je upravo odobrio nastavak “Sivog čovjeka”.

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Zvijezda 'Bridgertona' kao novi Bond?

U sporednim ulogama nalaze se krajnje neuvjerljivi Regé-Jean Page ("Bridgerton"), veteran Billy Bob Thornton i mlada nada Julia Butters, otkriće Tarantinova "Bilo jednom u Hollywoodu". Pagea se, vjerovali ili ne, spominje u kontekstu novog Bonda.

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Film & TVCINEMARK U KUĆNOM KINU

‘Sivi čovjek‘: Sierra Šest nije novi 007

Piše Marko Njegić
28. srpnja 2022. - 14:35
22899890
PREMIUM
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Usputni kadar Mljeta iz akcijskog trilera “Sivi čovjek” (“The Gray Man”) preslikava režijski pristup braće Russo u najskupljem Netflixovom blockbusteru, teškom 200 milijuna dolara i nadahnutom serijalom romana Marka Greaneyja.

Anthony i Joe Russo su kompjutorski nadodali francuski renesansni dvorac Chantilly na otočić Sv. Marije umjesto postojećeg benediktinskog samostana. To je jedno u nizu računalnih nadodavanja u filmu braće Russo, proslavljene režijom Marvelova blockbustera “Kapetan Amerika: Ratnik zime”, gdje su Anthony i Joe prizemljili stripovski superjunački žanr do akcijskog spektakla špijunsko-trilerske vrste i kaskaderske akcije, kakav se takoreći mogao snimiti i u devedesetima.

Uspjeh tog filma doveo je Anthonyja i Joea do nastavka "Captain America: C...

#CINEMARK#CINEMARK U KUĆNOM KINU#NETFLIX FILMOVI#AKCIJSKI TRILERI#AKCIJSKI JUNACI#AKCIJSKIFILMOVI#RYAN GOSLING#CHRIS EVANS#ANA DE ARMAS#BRAĆA RUSSO#REGE JEAN PAGE
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