Two New Teaser Posters for The Amazing Spider-Man

It's pretty slim pickings for Spider-Man fans right now, as The Avengers pretty much dominates superhero movie news in advance of its nationwide debut in less than two weeks. Not counting the sluggish viral campaign, it's been more than two months since the last major piece of marketing material — the second trailer— for The Amazing Spider-Man was released.

In the absence of new materials, die-hard fans have had to satiate themselves on the snippets of new footage found in international trailers or try to decipher exactly what director Marc Webbmeant when he said in a recent interview that"maybe it's not a radioactive spider" that gave Peter Parker (Andrew Garfield) his superpowers. Thankfully, Columbia Pictures has released, via Yahoo!, two new teaser posters for the movie to give us all something to gaze at until Avengers mania dies down a bit.

As a bonus, here are three fan-made posters for The Amazing Spider-Man. The first one actually went live on the French website AddictOMovie just prior to the release of the official posters and many bloggers hungry for Spider-Man news declared it the real deal (the old script and lame tagline should have tipped them off that it was bogus).

The second and third fan-made posters were created by artist Matt Ferguson. We just love their clean lines and color palettes.

Next Showing:The Amazing Spider-Man opens July 3

Amazing Spider-man trailer (Official) and some of the photo's

Film terbaru Spiderman niih :D aku baru dapet photo’s nya duaang :D kaloo mau dapet info terbaru tentang “The Amazing Spiderman” stay tune di blog ku ya :D

  

Ini niih para pemain yang akaan menggantii pemeran terdahulunya :D

Gimana??cakep n cantiik kan :D gag kalah keren kok sama peter parker yang dulu hhiihhihi JAndrew Garfield as new peter parker :)

ini dia sedikit sinopsisnya :)

Synopsis

The film, which is now in production and is being shot entirely in 3D, will be released on July 3, 2012. The film stars Andrew Garfield, Emma Stone, Rhys Ifans, Denis Leary, Campbell Scott, Irrfan Khan, Martin Sheen, and Sally Field. The film is directed by Marc Webb from a screenplay by James Vanderbilt and Alvin Sargent and Steve Kloves based on the Marvel Comic Book by Stan Lee and Steve Ditko. Laura Ziskin, Avi Arad, and Matt Tolmach are producing the Marvel Entertainment production for Columbia Pictures. The executive producers are Stan Lee, Kevin Feige, and Michael Grillo.

And this is The Trailer :)

Adapted from : google and youtube.com

The Raid Movie Trailer and Movie Review 2011 HD

The Raid Movie Review




The Midnight Madness portion of the Toronto International Film Festival is best described as a “kick to the face,” a collection of ten genre films that work their way from horror to traditional martial arts, and everything in between. The fest kicked off (pun intended) last night with Gareth Huw Evans’ Indonesian The Raid, a powerhouse of action cinema that transcends into something much, much more. 

Raise your hand if you’ve seen a horror or action flick that drove you crazy simply because they never took it “all the way.” It happens all too often, in fact, pretty much all the time. The Raid takes a super simple plot and focuses on making an engaging and entertaining film, rather than a thought-provoking one. It’s an action movie, so why the hell is a deep story even necessary? The plot: A team of police raid a building complex taken over by a powerful drug lord. 

Similar to [REC] 2, the pic opens inside the police van where Evans builds the mythology of the criminals, and puts their own fear on display. We see police trembling, while others challenge the mission, in general. They’re scared shitless. It all builds from here, as Evans truly understands action cinema and how to build characters. Rule #1: your protagonist must be fallible. Many films make the mistake of turning their hero into Superman; a boring, indestructible machine that just yawns their way through one faceless villain after another (example: see pretty much every single action movie ever made). Evans reteams with the badass, Iko Uwais, who takes one beating after another and can only be described as “John McClane-ish”. Imagine Die Hard, only 100 times more violent and 1,000 times more bloody. Another comparison would be to Rocky IV as Ivan Drago is built up to be this unstoppable machine, and Rocky must use all of his heart to defeat the Russian anomaly. As the police work their way, floor by floor, so do the villains and their abilities. To say that Rocky bumps gloves with Drago is an understatement as the battle is beyond epic… 

Speaking of battles… 

Brilliantly, The Raid logically works its way through fight choreography that begins with automatic weapons and ends with hand to hand combat (once all the ammo and weapons are gone; and imagine that anything can be used as a weapon). Evans shows that he’s a master of action filmmaking as nearly every sequence is wholly visible – no shaky camera, tight shots or editing – and lets the viewer actually see what the hell is going on. Even more impressive were the on screen SFX work which range from multiple stabbings (chest, legs, eyes, etc.) to poles being jammed into people’s necks and faces being planted onto broken pieces of wood. The Raid is by no means a horror movie, but it plays out like the most epic zombie movie ever created – it’s easily one of the most violent and bloody films in history, yes, EVER. In fact, I’d go as far as to say it’s one of the best action movies ever assembled. 

The Raid does everything right, and is so incredibly self-aware in its awesomeness that I envision the filmmakers jacking off to their own movie (I would too). If you’re expecting a kick to the head, instead you should probably expect 42 kicks to the teeth, a roundhouse, 362 punches to the ribs and then two broken legs. The Raid is ultra-cinema, the highest octane of energy you’ll ever see on the big screen. It’s a rush that’s only side effect is withdrawal – and the only fix is to see it again.


adapted from : youtube and google :)

Sinopsis The Raid

Title : The Raid

Runtime : 100 menit
Staring : Iko Uwais, Pierre Sadaq Hamid, Ferenc Raymon Sahetappy, Joe Taslim, Tegar Satria, Verdi Solaiman, Ananda George
Director : Gareth Huw Evans
Screenwriter : Gareth Huw Evans
Producer : Nathaniel Bolotin

Di jantung daerah kumuh Jakarta berdiri sebuah gedung apartemen tua yang menjadi markas persembunyian para pembunuh dan bandit kelas dunia yang paling berbahaya. Sampai saat ini, blok apartemen kumuh tersebut telah dianggap tidak tersentuh, bahkan untuk perwira polisi yang paling berani sekalipun. Diam-diam di bawah kegelapan dan keheningan fajar, sebuah tim elit SWAT berjumlah 20 orang ditugaskan untuk menyerbu apartemen persembunyian tersebut untuk menyergap gembong narkotik terkenal yang menguasai gedung tersebut. 

Tapi ketika sebuah pertemuan dengan seorang pengintai membuka rencana mereka dan berita tentang serangan mereka mencapai sang gembong narkotik, lampu dalam gedung tiba-tiba padam dan semua pintu keluar diblokir. Terdampar di lantai enam dan tanpa jalan keluar, satuan khusus tersebut harus berjuang melawan penjahat-penjahat terburuk dan terkejam untuk bertahan hidup dalam misi penyerbuan tersebut.

Film ini diputar Perdana di Indonesia pada Jogja-Netpac Asian Film Festival 2011 setelah mendapatkan sanjung puji ketika world premiere-nya di Toronto International Film Festival (TIFF) pada 8 September lalu, dinobatkan oleh penonton di sana sebagai one of the best action movies tahun ini.

Benar saja, film arahan Gareth Evans dan diproduksi Ario Sagantoro, dan dimainkan Iko Uwais, Ray Sahetapy, Joe Taslim, Donny Alamsyah, dan Yayan Ruhian itu, mengalir seperti parade kekerasan yang tak berkesudahan. Pada titik tertentu, film yang hak pendistribusiannya telah dibeli rumah produksi raksasa Sony Pictures, untuk diedarkan di Amerika Serikat itu, tak ubahnya tontonan pornografi kekerasan.

Aksi baku hantam, jual beli sepakan, dan saling menguji ketahanan tubuh nyaris di luar batas ketahan fisik manusia -sampai di sini nyaris terlihat nonsen- dengan tulang dasar ilmu beladiri pencak silat Harimau dari Sumatera Barat, menjadi sajian utama. Tidak berlebihan jika film yang music score aslinya digarap Fajar Yuskemal, dan Aria Prayogi, kemudian disempurnakan Mike Shinoda dari Linkin Park dan Joseph Trapanese itu, oleh Hollywood Reporter ditulis,"The Raid' Starts midnight madness on a butt-kicking Note". Pujian serupa dilayangkan Twitch Film, yang menyebut film ini, "Will kick you in the head and make you like it."

Tidak ayal, seusai pemutaran The Raid di XXI Yogyakarta, Jumat (16/12) tepuk gemuruh membahana. Film yang hak edarnya juga telah dibeli Alliance untuk diedarkan di wilayah Kanada, Momentum (Inggris Raya), Madman (Australia), SND (Prancis), Kadokawa (Jepang), Koch (Jerman), HGC (China), dan Calinos (Turki) itu benar-benar berhasil membuat jatuh hati penontonnya.

Kehebohan film inilah yang membuat  penjualan tiketnya, sebagaimana dikatakan Direktur Festival Budi Irawanto, jauh-jauh hari sudah sold out. Dan memaksa panitia memutarnya sebanyak dua kali. Kelarisan film ini pula yang juga membuat sejumlah distributor film di Russia, Scandinavia, Benelux, Islandia, Italy, America Latin, Korea hingga India juga berebut mengedarkan film laga ini di wilayah edar masing-masing, setelah menyaksikan screeningnya di TIFF.

Bahkan Hollywood Reporter melansir jika rumah produksi Screen Gems, telah merampungkan proses negoisasi untuk meremake The Raid dalam versi Hollywood. Dan versi remake-nya nanti yang pasti tidak akan dibesut Gareth Evans, yang dikabarkan telah menyiapkan sekuel The Raid, berjudul Berandal. Menurut rencana proses syuting Berandal akan dimulai pada Februari tahun depan. Sedangkan The Raid sendiri mulai akan menyapa publik Indonesia mulai 19 Januari 2012.

adapted from http://www.ada-blog.com/2012/03/sinopsis-raid.html#ixzz1qgfwwdI1

The Cat Movie Review (Korean Movie)

• Movie: The Cat
• Revised romanization: Goyangyi: Jookeumeul Boneun Doo Gaeui Noon
• Hangul: 고양이 : 죽음을 보는 두 개의 눈
• Director: Byun Seung-Wook
• Writer:
• Producer: Lee Joon-Dong
• Cinematographer:
• Release Date: July 7, 2011
• Runtime: 106 min.
• Distributor: Next Entertainment World
• Language: Korean
• Country: South Korea

Plot :

Byeon Seung-wook's "The Cat" has been misjudged and misunderstood. Before writing this I came across a number of reviews citing numerous issues they had with the film. These criticisms largely stemmed from examining the film as strictly a 'horror' film and how the conventions of the genre weren't well executed within it. In addition, "The Cat" was seen to contain poor tonal and thematic motifs, impotently embossing its narrative with soft-core techniques and themes that resulted in nothing more than an average viewing experience. This displeased me because my initial reaction to the film was very positive. After some thought and reflection on the film, I began to formulate some of reasons I found this film to be not only entertaining but thought provoking as well.

Now, before I dive into some of the reasons I found this film to be well above average, lets look at the basic story here. Park Min-yeong makes her film debut as So-hee, a good-natured cat-lover who is tormented by a traumatic childhood experience. She suffers from chronic claustrophobia as she lives in constant fear that, if left in an enclosed space, some imminent danger will engulf her. So-hee works with an eccentric gentleman as a pet groomer. When her latest client is mysteriously murdered, she takes on the responsibility of caring for her cat "Silky". However the cat seems to come with some unwanted baggage in the form of a disturbing little girl (Hee-jin played by Kim Ye-ron) who haunts her from there on out. 

The mystery, at least initially, is discovering the link between the cat, the young girl, our protagonist, and the deaths surrounding them. But once that link is chained the film undergoes a subtitle shift as the mystery gives way to film's primary focus, that of visual expressing our protagonist's psychological journey of healing. "The Cat" may make use of some horror conventions but if that mind-set is continued throughout, the film will no doubt appear to fall short in many areas. The "mystery" of events will then result in the climax of the film being misinterpreted and seem almost obvious and unbecoming of true horror.

South Korean films have always appeared to me to have issue with genre, and "The Cat" is no exception. I feel that a lot of the negative feedback the film has received has been unjustly dished out as a result. The viewer may be primed with a generic expectation that some may not be willing to surrender when the film modifies its course. A horror film it is not, at least not when considered in the traditional sense. If I had to force a category onto "The Cat", I think it would better be appreciated as a psychological fear film. I don't mean to debate semantics here but the criticisms the film has received seem so off the mark that I think such a distinction is necessary.

Our protagonist suffers with both internal (her claustrophobia) and external (the child ghost) conflict and the degree to which they are connected is vital in understanding the film in its entirety. As the film progresses, the distance between So-hee psychological condition and the real-world events that follow her continues to narrow. There is a huge gap between her being attack by a ghostly figure under her bed to her embracing the deceased girl within a confined space at the end. This is where the film works its magic, through the thematic pairing of So-hee and the little girl, the filmmakers have work into the mechanics of the piece a link between them that is mutual inclusive as their conflicts become simultaneously resolved.

So-hee suffered a trauma when she was a little girl and it is now a little girl who haunts her. Her resolve to discover the truth behind Hee-jin and her hauntings is one that serves a dual purpose. The first is the most noticeable, to resolve the story behind the ghost that can't move on. The second is that all though it is Hee-jin who can't move on, it is So-hee who is struggling to move forward. Their fates are entwined and the filmmakers have laid the groundwork for that synergy, weaving it into both the narrative and the overall tone of the film.

Consider that the victims of the Hee-jin are never actually "haunted" by their ghostly killer, but our heroine is. So-hee's hauntings are her fears incarnate, something that needs to be confronted in order to transcend them. Unlike the victims, she did not threaten the cats and as such her life was not at risk. The viewer knows this but we also need to probe as to why this is. Here we can see a psychological agent emerge, as So-hee's fear is visual represented through the hauntings (the unresolved conflict that lingers). Hee-jin is what she fears (representing both internal and external conflicts), the danger in the dark, the threat that dwells in enclosed spaces. Parallels like this are there to be seen and the connection between them is key to understanding the film's progression.

Almost every review I read acknowledged that film was competently made and visually quite attractive. But in the same breath lay criticism against it as a horror film. "The Cat" contains some very elegant composition and the cinematography is not only eye-catching, it's appropriate. Films that contain overt psychological elements have this theme manifest itself not only through content but through form as well. The mechanics of the film are definitely on the same page in "The Cat" as the message and visuals exists as one. Many a scene is introduced with a shallow depth of field that refocuses as character enter. As if there is a constant effort to illude to a presence existing in the space prior to action. A stillness, or pretext, that primes the scene with a strong sense of unease. It is almost as if we, the viewer, are briefly possessing that which So-hee fears -- the danger in the dark, the object of her despair lurking in the corner. Similarly, the frequent use of extreme close-ups act as reminders to the details that exists in the world and the meaning they can hold, constantly screaming "look closer".

Clues to Hee-jin's fate can be seen in her eyes as the screen is dominated early on by their cat-like coldness. Walls and door handles are put in focus as objects that define boundaries, in which So-hee's fear resides. The film's visual aesthetic is a claustrophobic one and it serves the narrative well within the film's thematic considerations. All the murders take place within confined spaces, reinforcing the fear we know So-hee has to overcome. Even the film's palate was inline with this idea as muted tones of yellow, blue, and grey washed over each scene and helped to paint an uncomfortable psychodynamic. Yellow, in particular, was dominant, eliciting feelings of fear, danger, unease, friendship, hope, and covetousness. All applicable to "The Cat" and the struggles and trials our characters go through. This is where the film draws you in, not though its shock and horror techniques, but through subtitle compositions and subliminal emotive techniques.

What about the cat? Yes this film is called "The Cat" but lets not get too hooked on that notion and begin referencing other, and arguably, better cat horror films. Cats in the film are the messenger, the common link shared between protagonist and the fear she must confront. They are the objects, not the subjects. Hee-jin and So-hee share unresolved issues but it is the cat(s) that brings them together to conquer them. They are not evil or sinister by themselves; they are in possession of this same-shared sense of torment felt by their human companions. If there is one trait that holds true to about cat mythology in the film it's that of being mysterious and strangely powerful. 

In the early stages of the film, when the mystery is at its highest, the cats are seen as creatures to fear. But by the end of the film their stories come to light and fear is replaced by understanding and sorrow. I feel like the cats themselves were almost a red herring in the film that distracted, and for some too much, from the films true intentions. They served their purpose perfectly and, even though they could be simplified to being just a story hinge, their impact was justified. Questions beyond their intended function are pointless and shortsighted, narrowing the reading of the film to one that is limited to overreaching preconceptions and ill-serving contextualization.  

"The Cat" deserves some credit, and from what I have read thus far it has not gotten that. The film's message and ideas are woven into its mechanics with such cinematic sensibility and consideration that it's hard not walk away with some appreciation. Dismissing the film as a failed horror is not only unfair, its completely unjustified. In writing this I have hope to share some of the film's less obvious layers that I believe make it a great film worthy of any recommendation. 

• Movie Picture Gallery

adapted from : www.google.com

Story of Paranormal activity (Tokyo Night)

Story of Paranormal activity (Tokyo Night)

Still remembered as an independent horror film with a phenomenally low budget in 2009 yesterday?Yup, Paranormal Activity, directed and written by Oren Peli directly've made these people there screaming in horror. Simple story about a ghost disturbance in a house with found footage of this technique is Oren Peli made suddenly rich. Just think of the budget $ 15,000managed to get revenue of $ 107,917,283, so in 2010 and Paramount Picture sabagai once again make a sequel prequel to the film Paranormal Activity appendage number 2 behind. Paranormal Activity In addition to the Hollywood version, the Japanese filmmakers in the same year also released a film titled Paranormal Activity 2: Tokyo Night.

Had hesitated at a film directed by Toshikazu Nagae is because prior to this film as I fooled sempet Paranormal Entity produced film The Asylum. Yup, I nyesel because I think it is a sequel of the movie which Oren Peli's that time again intensively reported. So I kind of doubt when nemu this film, the film is no less doubt that bad at The Asylum's film. But, from a review of the existing review Paranormal Activity 2: Tokyo Night is better than the original version, 

Paranormal Activity 2: Tokyo Night is not to imitate the event and want to find more success than the original version. PA 2: Tokyo Night is just a marketing strategy to take across from Paramount Picture demons here to sakura house in the country. The goal of course to pick up market share asia. Parallel sequel was probably a more appropriate word than for the remake of this film. Just like his version of Oren Peli, PA 2: Tokyo Night in terms of story and technique would not be much, much different. Stay focused on the theme of demonic interference in the home and continue to use found footage style to execute.

If Paranormal Activity in the same figure we'll be introduced Kathy and Micah, in Tokyo Night sisters Haruka (Aoyama Noriko) and Koichi (Nakamura Aoi). Set in Tokyo as the name suggests, Haruka had just returned to Tokyo from the U.S. after an accident that made his legs paralyzed. Koichi, her brother-who else likes to play the camcorder gemarnya record all activities of Haruka. Smiles are expected to attend after Haruka's return from studying in San Diego it was not always wide. These days they begin to interfere with the sounds of footsteps, the door opened themselves, broken glass without cause until it was too much interference.

As I mentioned in the previous paragraph, Tokyo Night would not be much different from the flmnya Oren Peli. Even some of the scenes in this film like similar scenes in the film Paranormal Activity. Did not even have anything new to offer by Toshikazu Nagae here to scare the audience. Just like when I watch presedornya, I also get bored at first and began to tense staring at a computer screen looking for the demons that distrub Haruka and Koichi. Well at Tokyo Night was not sticking his demons at all, more dominated by the same voices and moving objects.

Of the same advantages offered by Tokyo Night's thick atmosphere is very atmospheric horror.Japanese houses are narrow and full of space / dark corners that make this film seem a bit more creepy than presedornya. Besides acting ability as Haruka Aoyama Noriko and Nakamura Aoi as well as add value plus Koichi Tokyo Night. Oh well, another one that makes Tokyo Night is much better than the movie Oren Peli, the last 10 minutes to Ending a really creepy, creepy creepy ... very far from ending Kathy and her husband shot and killed police officers. Of course I will not reveal the ending of this film is like, because this is the best moment of the film Paranormal Activity 2: Tokyo Night

Then is Paranormal Activity 2: Tokyo Night film as bad as the worst overall production mockbuster Asylum, Paranormal Entity? Answer I think the film would perform better than presedornya. It is still copying and pasting the same format, but to scare affairs penontontonya Tokyo Night arguably enough for it. The film is still no common thread with Paranormal Activity Hollywood version is still worth watching for. And to be honest I said, when Haruka was possessed by the devil I was horrified, frightened when I clay Kayako in Ju-On film.