Ben We're the Millers'a gitmek istemiştim. Rush'a gitmeyi kabul etmemin tek sebebi IMDB notunun 8.4 olmasıydı. 7'den yüksek puanlı filmlere gitmemek gerektiğini her seferinde yeniden keşfetmem gerekiyor.
Filmin ilk yarısında "bunca zaman erkek arkadaşlarımı romantic komedilere zorla götürmemin cezasını çekiyorum sanırım" diye düşünüyordum. İkinci yarı ise kaza olayları yüzünden artık bir kalp spazmı tehlikesine dönüşmüştü.
Normal filmlerdeki tek sahnelik kaza görüntüleri bile beni hala derinden sarsarken sürekli bir kaza geçiren, kaza geçirme ihtimali olan, kazadan sonra yaşananları anlatan sahneler sonrası filmden çıktığımda uzun sure nefes alamadım.
Gidip gidebileceğim en yanlış filmdi sanırım.
Pehhh....
Here is a few my favorite Glee performance. I've always been under effect of what I watch. So I'm watching Glee and now I'm all about "I should tell all of my feelings". Yeah! Right. - I should had had my lesson at The Hill - Audrina-Justin relationship weren't be role modem for your relationship:) -
For English review of movie I love The New Yorker's review so I decided to positioning it here: I'm not cheating, I'm just lazy:) and my first review didn't became as much fascinating as I expected. So u deserves better comments:)
Of the six stories in six time frames that are cut into small pieces and deftly dovetailed in “Cloud Atlas,” one—that of the present day—is like a shield to render the movie critic-proof: a plotline pivoting on an author who murders, to public acclaim, a critic who panned his new book. I’ve written here before about critical responsibility and the moral obligation to compensate, in thought, for the disproportion between the filmmaker’s lengthy labors and the critic’s quickly typed response. I’ll admit that I experienced “Cloud Atlas” mainly as the motion-picture equivalent of being cornered at a noisy party by three filmmakers expounding at length—with animated gestures and gusty yet sincere vehemence—on their philosophy of life, and I would argue that it’s worthwhile to figure out what that philosophy is. That’s where the surprises are to be found, and that’s where the filmmakers (Lana Wachowski, Andy Wachowski, and Tom Tykwer) snuffed out most of the project’s potential for cinematic invention.
Read more http://www.newyorker.com/online/blogs/movies/2012/11/cloud-atlas-and-the-winds-of-time.html#ixzz2Be5jrKJy
P!NK P!NK P!NK P!NK P!NK P!NK P!NK P!NK
I love Pink and her new album -The Truth About Love- is great as usual. My favorite songs are,
* Just Give Me a Reason
* Are We All We Are and
* Try
* Here Comes The Weekend
of course. I especially love songs which is written open heart like Enrique's "Tonight I'm f*cking u" or Acon's "I wanna f*ck u" or Rihanna's "Where have u been or Rude Boy". And I can say "I'm Slut like u" is one of them and if u like me u like the song too.
I know u already seen all of theese videos but may be there are somes who still didn't see and I don't wanna miss anybody to laugh to death opportunity.
Future me, I know u will make fun of me that because it's so idiotic but right now we really find it funny.
Watch in succession:)
My # 1 song of ever.
(Now dad this is a very sensitive subject)
From the first time the doctor placed you in my arms
I knew I'd meet death before I'd let you meet harm
Although questions arose in my mind, would I be man enough?
Against wrong, choose right and be standin up
From the hospital that first night
Took a hour just ta get the carseat in right
People drivin all fast, got me kinda upset
Got you home safe, placed you in your basonette
That night I don't think one wink I slept
As I slipped out my bed, to your crib I crept
Touched your head gently, felt my heart melt
Cause I know I loved you more than life itself
Then to my knees, and I begged the Lord please
Let me be a good daddy, all he needs
Love, knowledge, discipline too
I pledge my life to you
Just the two of us, we can make it if we try
Just the two of us, (Just the two of us)
Just the two of us, building castles in the sky
Just the two of us, you and I
Five years old, bringin comedy
Everytime I look at you I think man, a little me
Just like me
Wait an see gonna be tall
Makes me laugh cause you got your dads ears an all
Sometimes I wonder, what you gonna be
A General, a Doctor, maybe a MC
Haha, I wanna kiss you all the time
But I will test that butt when you cut outta line, trudat
Uh-uh-uh why you do dat?
I try to be a tough dad, but you be makin me laugh
Crazy joy, when I see the eyes of my baby boy
I pledge to you, I will always do
Everything I can
Show you how to be a man
Dignity, integrity, honor an
An I don't mind if you lose, long as you came with it
An you can cry, ain't no shame it it
It didn't work out with me an your mom
But yo, push come to shove
You was conceived in love
So if the world attacks, and you slide off track
Remember one fact, I got your back
It's a full-time job to be a good dad
You got so much more stuff than I had
I gotta study just to keep with the changin times
101 Dalmations on your CD-ROM
See me-I'm
Tryin to pretend I know
On my PC where that CD go
But yo, ain't nuthin promised, one day I'll be gone
Feel the strife, but trust life does go wrong
But just in case
It's my place
To impart
One day some girl's gonna break your heart
And ooh ain't no pain like from the opposite sex
Gonna hurt bad, but don't take it out on the next, son
Throughout life people will make you mad
Disrespect you and treat you bad
Let God deal with the things they do
Cause hate in your heart will consume you too
Always tell the truth, say your prayers
Hold doors, pull out chairs, easy on the swears
You're living proof that dreams do come true
I love you and I'm here for you
(This is a good song dad, how much am I gettin paid for this?)
------------------<3<3<3<3<3<3<3<3<3<3<3<3<33<3<3--------------------------------------------
Bir zamanlar o kadar çok kitap okuyordum ki. Neredeyse 13'üme gelmeden bütün klasikleri bitirmiştim. Türkçe romanlar (babamın kitaplığından kalma olanlar), Woody Allen'lar, Nobel ödüllü yazarlar, best saller'lar...
Sonra ailemden ayrılıp İst'da yaşamak zorunda kaldım. Bilinçli ve isteyerek yapılmış bir tercih olmamasına rağmen sonradan başıma gelen en iyi şey olduğunu düşündüm hep.
Farkettim ki İst'a geldiğimden beri çok fazla kitap okumamıştım. Sonradan yeniden kitap okumaya başladığımda bu sefer o ağır romanlar kitaplar değil, daha çok Gossip Girl tarzı kitaplar beni çekmeye başladı.
Düşündüm ki, acaba Ank'daki hayatımda yapacak fazla bir şey olmadığı için bir kaçış olarak kitaplara sığınmış olabilir miyim? Sık sık "Benim ne işim var burda" duygusunu hissederdim. Yine farkettim ki uzun zamandır o duyguyu da hissetmiyorum.
Neyse, demek istediğim, Lauran Conrad'ın LA Candy serisini okuyorum ve bayılıyorum. Kitaplar güzel. Siz de okumak/kaçmak isterseniz amazon'dan ülkemize gönderiyorlar.
Madonna of course.. Super Creative:
This Means War:
Son zamanlarda izlediğim en eğlenceli filmlerden....
One of the funniest movies which I've seen lately....
bbb
The Holiday:
Just for fun...And It makes you really get in good mood.
Çoook eğlenceli... Ve sizi gerçekten iyi bir moda sokuyor.
Breakfast at Tiffany's:
I know it's sooo clasic but take a look at this scene, don't you think It deserves best movie awards?
Biliyorum çoooook klasik ama sizce de en iyi film ödüllerini haketmiyor mu?
My Girl:
Every time I watched it I couldn't get myself cry.
Ne zaman izlesem gözyaşları içinde kalıyorum.
Braveheart:
It's classic too but I think they should remake this movie in every 10 years. :)
Bu da klasik ama mükemmel bir filmdi. Bence her 10 yılda bir yeniden çevirmelier bu filmi:)
The Hot Chick:
It's funny at all...
Çoook komik.
From the past...
Çoook komiiik. Yaratıcı insanları seviyorum.
mmm
So Popular
Süper film, süper şarkı...
Ain't no mountain high enough
But at least I got my friends Share a rain coat in the wind They got my back until the end If I’ll never fall in love again Well at least I got my friends Like a light bulb in the dark Saving me from the sharks Even though I got a broken heart At least I got my friends.....
My new favorite...
Babamın geçen yıl doğum günümde; marmaristeki neredeyse tüm odaları denizi gören villayı satıp -her yaz yurt dışına çıkdığımızdan son beş yıldır uğramaz olmuştuk- yerine bana aldıgı siyah arabama bindim.Son sürat okula gittim.Okulun büyük otoparklarından birine park ettim ve beyaz cam güneş gözlüklerimi takıp indim arabamdan.Ağır adımlarla okula doğru yürümeye başladım.Oldukça yavaş ve kendinden emin yürüyordum çünkü herkesin bu ayrıntılarla düşünülmüş güzel kombini görmesini istiyordum.Ben yürürürken insanların çoğunun sohbeti kesip beni izlediğini farkediyordum.Bu durum benim için oldukça olağandı.İnsanlar beni çoğunlukla çocukken oynadığımız barbie bebeklere benzetirdi.Bunda belime uzanan açık sarı parlak saçlarımın da etkisi vardı tabi.fakat benim saçlarım barbienini aksine daha gür ve biraz da dalgalıydı.Aile dostlarımız beni; 20 yaşındayken babamın iş seyahatinde tanıştığı rus kökenli olan anneme benzetirdi...
Türkish Gossip Girl tarzında bir roman olabilirdi bi tanecik kuzim Ayşeciğin kitabı yazılsaydı....
Filmin ilk yarısında "bunca zaman erkek arkadaşlarımı romantic komedilere zorla götürmemin cezasını çekiyorum sanırım" diye düşünüyordum. İkinci yarı ise kaza olayları yüzünden artık bir kalp spazmı tehlikesine dönüşmüştü.
Normal filmlerdeki tek sahnelik kaza görüntüleri bile beni hala derinden sarsarken sürekli bir kaza geçiren, kaza geçirme ihtimali olan, kazadan sonra yaşananları anlatan sahneler sonrası filmden çıktığımda uzun sure nefes alamadım.
Gidip gidebileceğim en yanlış filmdi sanırım.
Pehhh....
Here is a few my favorite Glee performance. I've always been under effect of what I watch. So I'm watching Glee and now I'm all about "I should tell all of my feelings". Yeah! Right. - I should had had my lesson at The Hill - Audrina-Justin relationship weren't be role modem for your relationship:) -
Cloud Atlas Cloud Atlas Cloud Atlas
Cloud Atlas filminden çıktıktan sonra ii bi film mi boktan mi
karar veremedim... Hani çıkıosunuz ya bazı filmlerden tam olarak anlamadığınız
duygusuyla. Matrix 2- 3 falan biraz öyle mesela...Sonra millletle tartışarak
falan anca toparlıyorsunuz düşüncelerinizi. İşte bu da öyle.
Ben de bir arkadaşımın tavsiyesi üzerine filmle ilgili diger
yorumları okumaya karar verdim. Dınınıııım... Bir aceminin yorum denemeleri:)
Yorum denemesinden ziyade birileriyle konuşurken hava atmanıza da yarayacak
genel bilgiler vereyim. Bari halka böyle bir faydam olsun. Hani mesela kız/erkek
arkadaşınızla gittiniz filme, çıkınca işte bu da böyleymiş falan diye buradan
öğrendiklerinizi satarsınız. Hem konuşma sıkıntısı çekmemiş olursunuz hem de
filmi anlamadığınızı karşınızdaki anlamaz. Hahaaaa....
PS: Arkadaşımın yorumu Cloud Atlas üzerine değildi. Genel
olarak kitaplar ve filmlerle ilgili yazılardan çok şey öğrenebileceğimi
anlatıodu bir konuşmamızda. Şöyle dedi: 3 Silahşörler salak bir çocuk kitabı
gibi algılanıyor ya. Umberto Eco'nun "3Silahşörler" kitabı ile ilgili bir yorumu
varmış. Arkadaşım o yorumu okuduktan sonra kendisi için "3 Silahşörler'in en
sevdiği kitaplarda top list'e girdiğini söyledi.
Neyse film yorumuma geri döneyim. Filmi bir bütün olarak
değerlendirmek gerek. dolayısı ile oyuncular iyi, hoş tabi de yazar ve yönetmen
de önemli artık bizim için.
Cloud Atlas 2004 yılında yazılmış bir
roman. Yazarı İngiliz David Mitchell. 6 ayrı hikayeden oluşuyor. Kitap bir ton
edebiyat ödülü kazanmış. Bu da ii bir film olduğu ihtimalini kuvvetlendiriyor.
Film/Kitap 6 farklı hikayeden
oluşuyor. 1849 yılında geçen, bir Amerikalı doktorun bir köle ile arkadaşlığını
içeren hikaye; 1936 yılında geçen, bir İngiliz bestecinin yaratıcılığını ve
sonrasında da özgürlüğünü aradığı bir hikaye; 1973 yılında geçen, Amerikalı bir
gazetecinin San Francisco'da nukleer enerji santralini araştırdığı bir
hikaye; 2012 yılında geçen, yaşlı İngiliz bir editörün eğlenceli hikayesi; 2144
yılında Yeni Seul'de geçen, klon-kölelerin özgürlük hikayesi ve uzak gelecekte
geçen yarı aşk yarı vahşiler yarı korku dolu bir hikaye. Hikayelerin ortak
felesefeleri de var ama bir o kadar da birbirinden farklı hikayeler. Dolayısı
ile ben sanki 6 farklı film izlemiş gibi hissettim. Filmin 172 dk olduğunu da
düşünürseniz yalan da olmaz hani... Akşam 10'da girdik, gece 1'de çıktık
kardeşim salondan. Ara verene kadar altımıza işeyecektik... Hatta sanki 6 farklı
yönetmen yönetmiş gibi bile dedim. Ve sonradan okudum ki 6 değil ama 3 farklı
yönetmen çekmiş filmi. Yorumculuk benim kanımda var
canım:))))
Lana Wachowski ve Larry Wachowski 2
gelecek bölümü ve 1849 yılının hikayesini çemişler. Tom Tykwer1936, 1973ve
günümüzün hikayelerini çekmiş.
Şimdi hava atmanıza yarayacak bir
bilgi daha: Wachowski kardeşler Matrix serisini de çeken kardeşler. Ve bir
zamanlar Wachowski Brothers diye isimlendirilirken artık Wachowskis deniliyor
kendilerine çünkü erkek kardeşlerden biri artık kız kardeş olmaya karar vermiş.
Hem de kızıl saçlı tatlı bi hatuna dönüşmüş... Yaaa. Ay film yorumundan dedikodu
sitelerine hızlı bir geçiş oldu bu. Toparlanayım hemen....
Açıkçası ben yaşlıların hikayesini çok
sevdim. Genel olarak karanlık filmin güldüren tek hikayesiydi onlar. Filmler
arasında birbirlerine bağımsız linklerle bağlanmalarını sevdim. Ama bu linkler
dışında filme giderken "6 bağımsız hikaye" hikayesini duymadığım için sonunda bu
kadar adam bir şekilde bağlanacak teorim hayal kırıklığı ile sonuçlandı. Uzak
gelecek hikayesinde ortaya çıkan Şizofrenik şekilde ortaya çıkan şeytan çok
etkileyiciydi.
Yorum yaparken filmin felsefi
mesajlarını nasıl algıladığımı da yazmalı mıyım acaba? Yoksa spoiler'a mı girer
bunlar bilemedim. Daha derin yorumlar için birileriyle de konuşmalıyım sanırım.
The End...
İmza: Acemi
Yorumcu/Dedikoducu
For English review of movie I love The New Yorker's review so I decided to positioning it here: I'm not cheating, I'm just lazy:) and my first review didn't became as much fascinating as I expected. So u deserves better comments:)
Of the six stories in six time frames that are cut into small pieces and deftly dovetailed in “Cloud Atlas,” one—that of the present day—is like a shield to render the movie critic-proof: a plotline pivoting on an author who murders, to public acclaim, a critic who panned his new book. I’ve written here before about critical responsibility and the moral obligation to compensate, in thought, for the disproportion between the filmmaker’s lengthy labors and the critic’s quickly typed response. I’ll admit that I experienced “Cloud Atlas” mainly as the motion-picture equivalent of being cornered at a noisy party by three filmmakers expounding at length—with animated gestures and gusty yet sincere vehemence—on their philosophy of life, and I would argue that it’s worthwhile to figure out what that philosophy is. That’s where the surprises are to be found, and that’s where the filmmakers (Lana Wachowski, Andy Wachowski, and Tom Tykwer) snuffed out most of the project’s potential for cinematic invention.
The movie’s six episodes are set in six time periods: in
1849, an American doctor helps a slave escape; in 1936, a young British composer
seeks to free himself from the authority of an older one; in 1973, an American
journalist seeks to reveal the dangers of a San Francisco nuclear power plant;
in 2012, a British editor seeks to escape from a nursing home; in 2144, a
clone-slave, or “replicant,” in Neo Seoul flees captivity to expose the truth of
that society; and in a distant post-apocalyptic future, that replicant’s
message, a sort of gospel for a persecuted sect, inspires the survival of
civilized humanity on a distant planet.
If a prime virtue of direction is the use of images and sounds to conjure an experience of something beyond the substance of the script, only one of the six episodes has any substantial merit: the one set in Neo Seoul in 2144, plus a few brief scenes in the post-apocalyptic one, a sole moment set in 1849 (an exhilarating swing by rope from a mast) and another from 1973 (a view from inside a car as it flies off a bridge into the bay). Otherwise, it’s a painful movie to look at, directed mostly at a television level. In terms of visual style, it’s five-sixths a nullity, a non-experience—and, at a hundred and seventy-two minutes, that’s a whole lot of nothing.
Having not paid attention to the coverage, I had no idea how the directorial duties were divided up, and assumed—wrongly, as it turns out—that they weren’t divided at all. Actually, Lana Wachowski and Larry Wachowski directed the two futuristic episodes and the one from the most distant past (1849) and Tykwer took on the two twentieth-century segments (1936, 1973) and the one set in the present day—and that division shows in the results. Predictably, the Wachowskis made much of C.G.I. in devising the futuristic city. It’s their sweet spot, and they hit it, a few moments and a few shots at a time.
Just as directors’ statements about their intentions have no special validity for a viewer’s experience of a movie, the theme that’s stated in a movie’s script is often not the most important or most significant one. Taking the “Cloud Atlas” script at its word would wrongly suggest that the movie is mainly about interconnectedness, about the unsuspected and inextricable bond that causally links actions—and people—over time. The text suggests something of moral butterfly effect—the idea that a tiny action taken today may be the principal cause of great or grave results in the future. The action itself, and the way its sections both connect and reflect each other, indicate that the movie’s key doctrine is the repetition of history. And the main template that the filmmakers put forth concerns the abuse of power and the resistance to abusive power, or, as is said in the movie, the quest for freedom The old editor of the current day, played by Jim Broadbent, says “x‘Freedom!’ is the fatuous jingle of our civilization, but only those deprived of it have the barest inkling re: what the stuff actually is,” and the revolutionary replicant, Sonmi-451 (echo of Bradbury) quotes the then-banned author Solzhenitsyn. In repeating itself, history becomes cyclical—the future gospel of kindness that she preaches, in the face of a cruel neo-pagan religion, suggests the second coming of Christianity.
The tastelessness of having Jim Sturgess appear as a Korean, and Halle Berry and Doona Bae as Caucasians—and, over-all, the “Where’s Waldo?” game of seeing through the guises in which famous actors seem to turn up—is no more offensive than the movie’s dunningly dull images that cry out to be accepted for their presumptive importance, their message to humanity, the ideas (such as they are) that the images transmit and fit all-too-tightly. The polymorphic role-playing implies that the time in which one lives and the ethnic identity one is born with are mere incidentals. For all the malleability and moral pressure of free will that the tied-together stories suggest, the movie’s real message is the eternity of the present day: all the people there are now are essentially the people who always were and who always will be. The effect is like that of metempsychosis, of reincarnated souls, but the metaphysical dimension is replaced by a biological one. The subject of the movie is wiring, and, specifically, hard-wired information. That’s why it’s so significant that, when Sonmi-451 speaks to her liberator, she says, “Knowledge is a mirror” thanks to which, she says, “I can see who I am.” The definition of an image isn’t visual; it’s data (like, of course, the very images that the Wachowskis create).
The creators of “The Matrix,” after all, have a sense of digitally malleable realities, and the vision that they realize in “Cloud Atlas” is also one of virtual possibilities. But whereas those of “The Matrix” were essentially audiovisual, those of “Cloud Atlas” are informational: the movie’s underlying argument is that all of human existence is data, and that, if you type just the right terms into the cosmic search engine, you’ll get slices of life that make for deeply meaningful cross-sections of existence. It’s as if they’ve come to see deep meaning in the weird successions of links that Internt searches turn up. It’s a commonplace that art teaches us about the lives of people who lived in times and places utterly different from our own; the ultimate effect of “Cloud Atlas” reverses that equation, terrifyingly. All human ages and types seem to issue from, and to resemble, the most stultifying banalities that Hollywood can issue.
“Cloud Atlas” is hardly different from the first “Atlas Shrugged” movie (haven’t yet seen the second), except for one thing: whatever aesthetic redemption such message movies may offer would be in the realm of excess, whether of histrionic frenzy or of chilled uniformity. “Cloud Atlas” offers neither: the three directors’ professional moderation, the conventional naturalism of what usually passes for good acting and of straightforward storytelling, insures that the movie looks nothing like the dogmatic screed that it is. In the Neo Seoul of 2144, the reigning oppressive power is called the Unanimity, but there’s nothing so unanimous as three filmmakers who know exactly what they want to say and make sure that their film says it.
One of the prevailing memes about the movie regards its audacity and the importance of its high-budget production (it was made with a hundred million dollars of independent financing). As Anne Thompson tweeted last week, “I’m sorry cloud atlas rejection will make it tougher for risktaking in future.” In other words, its success or failure will influence studios to make either more or fewer of such movies. But what kind of movie is “Cloud Atlas” and what makes it particularly risky to produce and distribute? Sure, it’s got six stories rather than one; sure, it thrusts a philosophy of sorts front and center. The problem is that it’s not audacious enough; the story-telling within each episode is utterly conventional, familiar; the image-making is for the most part unoriginal; the acting is skillful but nothing new. And there isn’t much on-screen that shows great expense and great attention to décor, to the full and deep creation of vast worlds. And that’s something that might have taken a lot more money but might also have been done with less money—but, in any case, would certainly have taken a lot more imagination, more and better ideas.
If a prime virtue of direction is the use of images and sounds to conjure an experience of something beyond the substance of the script, only one of the six episodes has any substantial merit: the one set in Neo Seoul in 2144, plus a few brief scenes in the post-apocalyptic one, a sole moment set in 1849 (an exhilarating swing by rope from a mast) and another from 1973 (a view from inside a car as it flies off a bridge into the bay). Otherwise, it’s a painful movie to look at, directed mostly at a television level. In terms of visual style, it’s five-sixths a nullity, a non-experience—and, at a hundred and seventy-two minutes, that’s a whole lot of nothing.
Having not paid attention to the coverage, I had no idea how the directorial duties were divided up, and assumed—wrongly, as it turns out—that they weren’t divided at all. Actually, Lana Wachowski and Larry Wachowski directed the two futuristic episodes and the one from the most distant past (1849) and Tykwer took on the two twentieth-century segments (1936, 1973) and the one set in the present day—and that division shows in the results. Predictably, the Wachowskis made much of C.G.I. in devising the futuristic city. It’s their sweet spot, and they hit it, a few moments and a few shots at a time.
Just as directors’ statements about their intentions have no special validity for a viewer’s experience of a movie, the theme that’s stated in a movie’s script is often not the most important or most significant one. Taking the “Cloud Atlas” script at its word would wrongly suggest that the movie is mainly about interconnectedness, about the unsuspected and inextricable bond that causally links actions—and people—over time. The text suggests something of moral butterfly effect—the idea that a tiny action taken today may be the principal cause of great or grave results in the future. The action itself, and the way its sections both connect and reflect each other, indicate that the movie’s key doctrine is the repetition of history. And the main template that the filmmakers put forth concerns the abuse of power and the resistance to abusive power, or, as is said in the movie, the quest for freedom The old editor of the current day, played by Jim Broadbent, says “x‘Freedom!’ is the fatuous jingle of our civilization, but only those deprived of it have the barest inkling re: what the stuff actually is,” and the revolutionary replicant, Sonmi-451 (echo of Bradbury) quotes the then-banned author Solzhenitsyn. In repeating itself, history becomes cyclical—the future gospel of kindness that she preaches, in the face of a cruel neo-pagan religion, suggests the second coming of Christianity.
The tastelessness of having Jim Sturgess appear as a Korean, and Halle Berry and Doona Bae as Caucasians—and, over-all, the “Where’s Waldo?” game of seeing through the guises in which famous actors seem to turn up—is no more offensive than the movie’s dunningly dull images that cry out to be accepted for their presumptive importance, their message to humanity, the ideas (such as they are) that the images transmit and fit all-too-tightly. The polymorphic role-playing implies that the time in which one lives and the ethnic identity one is born with are mere incidentals. For all the malleability and moral pressure of free will that the tied-together stories suggest, the movie’s real message is the eternity of the present day: all the people there are now are essentially the people who always were and who always will be. The effect is like that of metempsychosis, of reincarnated souls, but the metaphysical dimension is replaced by a biological one. The subject of the movie is wiring, and, specifically, hard-wired information. That’s why it’s so significant that, when Sonmi-451 speaks to her liberator, she says, “Knowledge is a mirror” thanks to which, she says, “I can see who I am.” The definition of an image isn’t visual; it’s data (like, of course, the very images that the Wachowskis create).
The creators of “The Matrix,” after all, have a sense of digitally malleable realities, and the vision that they realize in “Cloud Atlas” is also one of virtual possibilities. But whereas those of “The Matrix” were essentially audiovisual, those of “Cloud Atlas” are informational: the movie’s underlying argument is that all of human existence is data, and that, if you type just the right terms into the cosmic search engine, you’ll get slices of life that make for deeply meaningful cross-sections of existence. It’s as if they’ve come to see deep meaning in the weird successions of links that Internt searches turn up. It’s a commonplace that art teaches us about the lives of people who lived in times and places utterly different from our own; the ultimate effect of “Cloud Atlas” reverses that equation, terrifyingly. All human ages and types seem to issue from, and to resemble, the most stultifying banalities that Hollywood can issue.
“Cloud Atlas” is hardly different from the first “Atlas Shrugged” movie (haven’t yet seen the second), except for one thing: whatever aesthetic redemption such message movies may offer would be in the realm of excess, whether of histrionic frenzy or of chilled uniformity. “Cloud Atlas” offers neither: the three directors’ professional moderation, the conventional naturalism of what usually passes for good acting and of straightforward storytelling, insures that the movie looks nothing like the dogmatic screed that it is. In the Neo Seoul of 2144, the reigning oppressive power is called the Unanimity, but there’s nothing so unanimous as three filmmakers who know exactly what they want to say and make sure that their film says it.
One of the prevailing memes about the movie regards its audacity and the importance of its high-budget production (it was made with a hundred million dollars of independent financing). As Anne Thompson tweeted last week, “I’m sorry cloud atlas rejection will make it tougher for risktaking in future.” In other words, its success or failure will influence studios to make either more or fewer of such movies. But what kind of movie is “Cloud Atlas” and what makes it particularly risky to produce and distribute? Sure, it’s got six stories rather than one; sure, it thrusts a philosophy of sorts front and center. The problem is that it’s not audacious enough; the story-telling within each episode is utterly conventional, familiar; the image-making is for the most part unoriginal; the acting is skillful but nothing new. And there isn’t much on-screen that shows great expense and great attention to décor, to the full and deep creation of vast worlds. And that’s something that might have taken a lot more money but might also have been done with less money—but, in any case, would certainly have taken a lot more imagination, more and better ideas.
Read more http://www.newyorker.com/online/blogs/movies/2012/11/cloud-atlas-and-the-winds-of-time.html#ixzz2Be5jrKJy
P!NK P!NK P!NK P!NK P!NK P!NK P!NK P!NK
I love Pink and her new album -The Truth About Love- is great as usual. My favorite songs are,
* Just Give Me a Reason
* Are We All We Are and
* Try
* Here Comes The Weekend
of course. I especially love songs which is written open heart like Enrique's "Tonight I'm f*cking u" or Acon's "I wanna f*ck u" or Rihanna's "Where have u been or Rude Boy". And I can say "I'm Slut like u" is one of them and if u like me u like the song too.
I know u already seen all of theese videos but may be there are somes who still didn't see and I don't wanna miss anybody to laugh to death opportunity.
Future me, I know u will make fun of me that because it's so idiotic but right now we really find it funny.
Watch in succession:)
My # 1 song of ever.
(Now dad this is a very sensitive subject)
From the first time the doctor placed you in my arms
I knew I'd meet death before I'd let you meet harm
Although questions arose in my mind, would I be man enough?
Against wrong, choose right and be standin up
From the hospital that first night
Took a hour just ta get the carseat in right
People drivin all fast, got me kinda upset
Got you home safe, placed you in your basonette
That night I don't think one wink I slept
As I slipped out my bed, to your crib I crept
Touched your head gently, felt my heart melt
Cause I know I loved you more than life itself
Then to my knees, and I begged the Lord please
Let me be a good daddy, all he needs
Love, knowledge, discipline too
I pledge my life to you
Just the two of us, we can make it if we try
Just the two of us, (Just the two of us)
Just the two of us, building castles in the sky
Just the two of us, you and I
Five years old, bringin comedy
Everytime I look at you I think man, a little me
Just like me
Wait an see gonna be tall
Makes me laugh cause you got your dads ears an all
Sometimes I wonder, what you gonna be
A General, a Doctor, maybe a MC
Haha, I wanna kiss you all the time
But I will test that butt when you cut outta line, trudat
Uh-uh-uh why you do dat?
I try to be a tough dad, but you be makin me laugh
Crazy joy, when I see the eyes of my baby boy
I pledge to you, I will always do
Everything I can
Show you how to be a man
Dignity, integrity, honor an
An I don't mind if you lose, long as you came with it
An you can cry, ain't no shame it it
It didn't work out with me an your mom
But yo, push come to shove
You was conceived in love
So if the world attacks, and you slide off track
Remember one fact, I got your back
It's a full-time job to be a good dad
You got so much more stuff than I had
I gotta study just to keep with the changin times
101 Dalmations on your CD-ROM
See me-I'm
Tryin to pretend I know
On my PC where that CD go
But yo, ain't nuthin promised, one day I'll be gone
Feel the strife, but trust life does go wrong
But just in case
It's my place
To impart
One day some girl's gonna break your heart
And ooh ain't no pain like from the opposite sex
Gonna hurt bad, but don't take it out on the next, son
Throughout life people will make you mad
Disrespect you and treat you bad
Let God deal with the things they do
Cause hate in your heart will consume you too
Always tell the truth, say your prayers
Hold doors, pull out chairs, easy on the swears
You're living proof that dreams do come true
I love you and I'm here for you
(This is a good song dad, how much am I gettin paid for this?)
------------------<3<3<3<3<3<3<3<3<3<3<3<3<33<3<3--------------------------------------------
Bir zamanlar o kadar çok kitap okuyordum ki. Neredeyse 13'üme gelmeden bütün klasikleri bitirmiştim. Türkçe romanlar (babamın kitaplığından kalma olanlar), Woody Allen'lar, Nobel ödüllü yazarlar, best saller'lar...
Sonra ailemden ayrılıp İst'da yaşamak zorunda kaldım. Bilinçli ve isteyerek yapılmış bir tercih olmamasına rağmen sonradan başıma gelen en iyi şey olduğunu düşündüm hep.
Farkettim ki İst'a geldiğimden beri çok fazla kitap okumamıştım. Sonradan yeniden kitap okumaya başladığımda bu sefer o ağır romanlar kitaplar değil, daha çok Gossip Girl tarzı kitaplar beni çekmeye başladı.
Düşündüm ki, acaba Ank'daki hayatımda yapacak fazla bir şey olmadığı için bir kaçış olarak kitaplara sığınmış olabilir miyim? Sık sık "Benim ne işim var burda" duygusunu hissederdim. Yine farkettim ki uzun zamandır o duyguyu da hissetmiyorum.
Neyse, demek istediğim, Lauran Conrad'ın LA Candy serisini okuyorum ve bayılıyorum. Kitaplar güzel. Siz de okumak/kaçmak isterseniz amazon'dan ülkemize gönderiyorlar.
<3<3<3<3<3<3<3<3<3<3<3<3<3<3
Once upon a time I was reading a lot of books. I finished all classics before my 13. Turkish novels (from my dad’s library) Woddy Allens, Nobel Priced books, best sellers…
Then I had to leave my parents and started to live in Istanbul. Although It wasn’t conscious or voluntarily choice, I always thought this is the best thing happened to me. Then I realized since I came Istanbul, I just leave books a side. After this realization I started again to read but not heavy things just books like Gossip Girl.
May be my life in Ankara was boring, there was nothing to do much and I had used books for my escape. I remember that I thought that “ What am I doing here?” often. And now I nearly never think like that.
Whatever, the point is nowadays I’m reading Lauren Conrad LA Candy series and just love them. Beautiful books. If u want to read them 2 Amazon is happy to serve u:
Madonna of course.. Super Creative:
This Means War:
Son zamanlarda izlediğim en eğlenceli filmlerden....
One of the funniest movies which I've seen lately....
bbb
The Holiday:
Just for fun...And It makes you really get in good mood.
Çoook eğlenceli... Ve sizi gerçekten iyi bir moda sokuyor.
Breakfast at Tiffany's:
I know it's sooo clasic but take a look at this scene, don't you think It deserves best movie awards?
Biliyorum çoooook klasik ama sizce de en iyi film ödüllerini haketmiyor mu?
My Girl:
Every time I watched it I couldn't get myself cry.
Ne zaman izlesem gözyaşları içinde kalıyorum.
Braveheart:
It's classic too but I think they should remake this movie in every 10 years. :)
Bu da klasik ama mükemmel bir filmdi. Bence her 10 yılda bir yeniden çevirmelier bu filmi:)
The Hot Chick:
It's funny at all...
Çoook komik.
From the past...
Çoook komiiik. Yaratıcı insanları seviyorum.
mmm
So Popular
Süper film, süper şarkı...
Ain't no mountain high enough
But at least I got my friends Share a rain coat in the wind They got my back until the end If I’ll never fall in love again Well at least I got my friends Like a light bulb in the dark Saving me from the sharks Even though I got a broken heart At least I got my friends.....
My new favorite...
Leonard Cohen
Yeni studio albümü Old Ideas 31.Ocak'da çıkacakmış. Sabırsızlanıyorum...
Hiç yayınlanmayacak bir kitabın öngösterimi
Güneşli ılık bir sonbahar günüydü...Aaah tabi ki hayır!!Burası ankara ekimin yirmisindeyiz.Hava genelde olduğu gibi soğuk, kapalı ve rüzgarlı.Dersanede geçirdiğim sıkıcı koca bir yıl boyunca hep deniz kenarında güneşli sıcacık bir ülkede üniversite hayatıma, yani yeni hayatıma merhaba demeyi hayal etmiştim.Ama olmadı işte...Ailem ek tercihlerime el attı ve ankarada bana göre eğlence hayatıyla ünlü fakat veliler arasında ve dünya çapında kaliteli eğitimiyle ünlenmiş bi üniversiteyi tercih ettiler benim için.Maksat minik kızları yanlarında olsun!!
Sabah erkenden uyandım.İki hafta öncesinden ne giyeceğime karar vermiştim.Okulun ilk günüydü ve okulum bakımlı kızlarıyla ünlü bi okuldu.Bu yıl oldukça moda olan benim de hemen bikaç çift edindiğim pufidik pembe botlarımla uyumlu beyaz mini elbisemi giydim.Yüzüme açık renkli fondötenimi sürdüm-ee ne de olsa bu yıl vampir makyajı moda-koyu mavi olan gözlerim daha da parlamıştı şimdi.Ve son olarak pembe allıklar ve toz pembe dudak parlatıcım.Evet şimdi herşey tamamdı.
Sabah erkenden uyandım.İki hafta öncesinden ne giyeceğime karar vermiştim.Okulun ilk günüydü ve okulum bakımlı kızlarıyla ünlü bi okuldu.Bu yıl oldukça moda olan benim de hemen bikaç çift edindiğim pufidik pembe botlarımla uyumlu beyaz mini elbisemi giydim.Yüzüme açık renkli fondötenimi sürdüm-ee ne de olsa bu yıl vampir makyajı moda-koyu mavi olan gözlerim daha da parlamıştı şimdi.Ve son olarak pembe allıklar ve toz pembe dudak parlatıcım.Evet şimdi herşey tamamdı.
Babamın geçen yıl doğum günümde; marmaristeki neredeyse tüm odaları denizi gören villayı satıp -her yaz yurt dışına çıkdığımızdan son beş yıldır uğramaz olmuştuk- yerine bana aldıgı siyah arabama bindim.Son sürat okula gittim.Okulun büyük otoparklarından birine park ettim ve beyaz cam güneş gözlüklerimi takıp indim arabamdan.Ağır adımlarla okula doğru yürümeye başladım.Oldukça yavaş ve kendinden emin yürüyordum çünkü herkesin bu ayrıntılarla düşünülmüş güzel kombini görmesini istiyordum.Ben yürürürken insanların çoğunun sohbeti kesip beni izlediğini farkediyordum.Bu durum benim için oldukça olağandı.İnsanlar beni çoğunlukla çocukken oynadığımız barbie bebeklere benzetirdi.Bunda belime uzanan açık sarı parlak saçlarımın da etkisi vardı tabi.fakat benim saçlarım barbienini aksine daha gür ve biraz da dalgalıydı.Aile dostlarımız beni; 20 yaşındayken babamın iş seyahatinde tanıştığı rus kökenli olan anneme benzetirdi...
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