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Zašto su zombiji dobri u oralnom seksu? Zato što će “popapati” sve što im stavite pred usta.
Ovaj vic ispričan je u hororu “Survival of the Dead” Georgea A. Romera. I prokleto je istinit. Fanovi strave i užasa, bili dobri u oralnom seksu ili ne, zombijevski će konzumirati sve što im ponudite.
Pa ipak, filmski festivali A klase ponešto su izbirljiviji. Njihova nepca naviknuta su samo na prvoklasne hororske delicije, kao “REC 2”, “Hordu” i “Opstanak živih mrtvaca”.
Posljednji Romerov uradak na prvi pogled izgleda kao da nastavlja tamo gdje je remake “Zore živih mrtvaca” završio. Film je uglavnom smješten na “zaraženi” otok podijeljen na dva klana. Jedan nema snage ubiti voljene pokojnike, sada pretvorene u “žive mrtvace”, pa ih vezuje lancima i ostavlja u kuhinjama, krevetima, vrtovima praveći se da žive normalan život, a usput pokušavaju naučiti “jesti nešto drugo, ne samo nas”. Drugi klan, na čiju će stranu stati par novopridošlih vojnika, s time se ne slaže i nastoji zombijima sasuti metak u čelo.
Na slične klanove podijelili bi se vjerojatno i Ving Rhames i Sarah Polley u slučaju da su preživjeli prvi nalet zombija na kraju “Dawn of the Dead”. No “Opstanak živih mrtvaca” je “no more than usual”, veli jedan lik u filmu.
Opstanka nema
Više film podteksta, nego strave. Romero se ne želi natjecati s nabrijanim zombi filmovima poput “Horde”. Njegovi su “mrtvaci” možda sporiji. Ali nigdje im se ne žuri. Opstanka nema, smatra Romero. Ljudska je rasa ionako pred izumiranjem.
Mrtvace je probudio i Izraelac Samuel Moaz u izvrsnom filmu “Libanon”. Mrtvace iz još jednoga besmislenog rata - libanonskoga. “Libanon” je lociran u prvi dan rata a 90 posto radnje stiješnjeno je unutar izraelskog tenka koji je zapeo na neprijateljskom teritoriju.
Redatelj je odabrao originalan pristup. Pakao “vani” uglavnom prikazuje kroz vizir tenka koji se okreće unaokolo i ispušta robotizirane zvukove kako bi Moaz efektno poentirao da su ljudi samo kotačići ratnog stroja što melje sve oko sebe, pa i životinje.
Možda najpotresniji prizor filma je prizor magarca na izdisaju kojemu su suze napunile oči. Jer ovo nije “mashovska” satira “The Men Who Stare at Goats”, niti je tovara, kao tamo kozu, pogledom ubio George Clooney.
marko njegić
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Zašto su zombiji dobri u oralnom seksu? Zato što će “popapati” sve što im stavite pred usta.
Ovaj vic ispričan je u hororu “Survival of the Dead” Georgea A. Romera. I prokleto je istinit. Fanovi strave i užasa, bili dobri u oralnom seksu ili ne, zombijevski će konzumirati sve što im ponudite.
Pa ipak, filmski festivali A klase ponešto su izbirljiviji. Njihova nepca naviknuta su samo na prvoklasne hororske delicije, kao “REC 2”, “Hordu” i “Opstanak živih mrtvaca”.
Posljednji Romerov uradak na prvi pogled izgleda kao da nastavlja tamo gdje je remake “Zore živih mrtvaca” završio. Film je uglavnom smješten na “zaraženi” otok podijeljen na dva klana. Jedan nema snage ubiti voljene pokojnike, sada pretvorene u “žive mrtvace”, pa ih vezuje lancima i ostavlja u kuhinjama, krevetima, vrtovima praveći se da žive normalan život, a usput pokušavaju naučiti “jesti nešto drugo, ne samo nas”. Drugi klan, na čiju će stranu stati par novopridošlih vojnika, s time se ne slaže i nastoji zombijima sasuti metak u čelo.
Na slične klanove podijelili bi se vjerojatno i Ving Rhames i Sarah Polley u slučaju da su preživjeli prvi nalet zombija na kraju “Dawn of the Dead”. No “Opstanak živih mrtvaca” je “no more than usual”, veli jedan lik u filmu.
Opstanka nema
Više film podteksta, nego strave. Romero se ne želi natjecati s nabrijanim zombi filmovima poput “Horde”. Njegovi su “mrtvaci” možda sporiji. Ali nigdje im se ne žuri. Opstanka nema, smatra Romero. Ljudska je rasa ionako pred izumiranjem.
Mrtvace je probudio i Izraelac Samuel Moaz u izvrsnom filmu “Libanon”. Mrtvace iz još jednoga besmislenog rata - libanonskoga. “Libanon” je lociran u prvi dan rata a 90 posto radnje stiješnjeno je unutar izraelskog tenka koji je zapeo na neprijateljskom teritoriju.
Redatelj je odabrao originalan pristup. Pakao “vani” uglavnom prikazuje kroz vizir tenka koji se okreće unaokolo i ispušta robotizirane zvukove kako bi Moaz efektno poentirao da su ljudi samo kotačići ratnog stroja što melje sve oko sebe, pa i životinje.
Možda najpotresniji prizor filma je prizor magarca na izdisaju kojemu su suze napunile oči. Jer ovo nije “mashovska” satira “The Men Who Stare at Goats”, niti je tovara, kao tamo kozu, pogledom ubio George Clooney.
marko njegić
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14. svibanj 2024 07:59
