#shayamalan

[muteemmilce-blog]

SPLIT (PARÇALANMIŞ) {2016, Hollywood} Gerilim, gizem ve psikolojik... Tüm bu sınıflara girebilen dengesiz bir Night Shayamalan filmi... Hintli yönetmenimizi filmlerinden tanırsınız. The Sixth Sense (Altıncı His) ve The Signs (İşaretler) onun filmlerinden. Ancak sonraki filmlerinde hızla düşüşe geçmiş ve hatta zaman zaman alaycı yorumlara maruz kalmıştı. Bu filme de şüpheyle yaklaştım ama internetteki yorumların hep olumlu olması beni ikna etti. Ve filmi izledim. Film hakkındaki fikrim: 🚨 İzlemez olaydım, demiyorum ama... Kesinlikle İzlenmesini de ÖNERMİYORUM. Bunu söylemek zorundaydım. (Kamu Spotu)🚨 Şimdi gelelim filmin konusuna: Film manyağın birini anlatıyor kısaca. Ama adam kendiliğinden böyle olmamış, demeye getiriyor. [Güvenilir psikiyatr Dr. Fletcher, Kevin adlı hastasının en az 23 farklı kişiliği bünyesinde barındırdığını kanıtlamıştır. Ancak henüz tamamen ortaya çıkmamış son bir kişilik vardır ki, meydana çıktığında diğer kişilikleri süpürecek çok vahşi bir karakterin habercisidir. Bu dizginlemesi zor gücün etkisiyle Kevin, 3 kızı kaçırıp yaşadığı yerde alıkoyar. Hırslı ve kararlı Casey'nin önderliğinde gençler hayatta kalabilmek için, Kevin içindeki şeytani güce tamamen boyun eğmeden önce oradan kaçmak zorundadırlar...] Film gerilim olarak çok iyi... Gerim gerim geriliyorsunuz... 😵😱 Shayamalan'ın tüm filmlerinde olduğu gibi fantastik ögeler de yer yer gerçekmiş zannı uyandırabiliyor. O yüzden Çoklu Kişilik Bozukluğu hakkında filmde verilen bilgilere inanasım gelmedi. (Shayamalan=Yalancı Çoban) 🤓 Ama finalde gene de işi kotarıp "vay be!" dedirtiyor. Yetişkin izleyiciye, özellikle her duyduğuna inanmayacak kadar bilinçli izleyiciye tavsiye edilir... ⚠ Filmde doğrudan olmasa da ima yoluyla çocuklar ve gençler için sakıncalı konuşma ve ögeler mevcut. (Çocuk istismarı konusunu gündeme getirmesi de dahil) ⚠ Bunun dışında film genel anlamda izlenebilir ama iç karartıcı bir film. (Hollywood filmi sonuçta) Uyarılarımı da dikkate alarak izlerseniz sonra beni suçlamazsınız... #filmtavsiye #filmönerisi #Shayamalan #split #parçalanmış #psikolojikfilmler #muhammed_ali_bayram_filmtavsiye #sinema #cinema #gerilim #gizem #psikoloji #çoklukişilikbozukluğu

[moviehoovie]

Unbreakable (2000)

Directed by M. Night Shyamalan. With Bruce Willis, Samuel L. Jackson, Robin Wright, Spencer Treat Clark. A man learns something extraordinary about himself after a devastating accident.

MOVIEHOOVIE GRADE: B+     (3RD WATCH; 8/18/15 - HD ONLINE.)

GOING ON MY THIRD VIEWING NOW, IT DOES HAVE SEVERAL CRACKS IN IT (GET IT?), BUT IT’S STILL GOT SOME GREATNESS TO IT TOO. I PARTICULARLY LIKED ROBIN WRIGHT, THE SHOWY CAMERAWORK AND SOME GOOD DIRECTORIAL TOUCHES THAT GO ALONG WITH THEM, AND OF COURSE OUR TWO MAIN DUDES. THE ENDING IS UNFORTUNATELY STILL THE WORST THING ABOUT IT (AND THOSE EPILOGUES... BLECH!).

[lion-kun]

Psycho (i.e. one of the first Shayamalanesque movies)

We all know of that iconic moment when Marion Crane gets stabbed to death in the shower accompanied with that jarring music that synchronizes with the stabbing motions. It has survived the test of time and permeated our subconscious. I had no idea what to expect of this movie when I started watching it. I only knew it for that scene and nothing else. Little did I know I would be watching one of the most well-made, unconventional psychological thrillers of all time as well as a fantastic character study of one of the most fascinating and downright creepy characters I ever had the pleasure of witnessing. I'm not the type to give a movie an excessive amount of praise primarily because of its reputation, I simply call it as it is and to me this movie was just that well made. Hitchcock really did a great job on this one (unlike To kill a Mocking bird which, though a good movie and had one of the most badass protagonists around), had its flaws mostly relating to its unevenness in tone and the dragging out of scenes).

I was most impressed by how much it deviated from the three act structure. The first character we were introduced to and whom we were traveling with was killed off during the halfway point of the movie. I was shocked when this happened so soon. What was going to carry the rest of the movie? But then it shifted from a story about a woman trying to find happiness to a case study of a crazed individual and it pulled it off fantastically where the transition felt natural and not jarring at all. I attribute most of this film's success at pulling this off by the fantastic character of Norman Bates played by Anthony Perkins. When we were introduced to him, we had no reason to expect him to have any more significance than a minor side-character. But from that scene in his office, you knew something was up with this man, you knew that he was far more significant to this story than one expected. How it was impossible to get a read on his character, never knowing whether he was a victim or an antagonist, how his emotions always seemed to fluctuate rapidly where you never know what he might say or do next.

And then we get to that scene and I can easily tell why it is still so infamous to this day. The way the blood circled the drain, Marian's cold glassy eyed face as she drooled on the bathroom floor. And then the cleaning up of her blood afterwards. Unbelievably chilling and I'm sure a scene that audiences had never imagined before to see on the silver screen at that time.

I pretty much figured out that Bates was playing as his mother about half-way through the movie. I had not been spoiled about the movie itself per se but too many comedy shows that have exploited that twist for their own cliche drivel had tipped me off at what was coming. But even so, I was NOT prepared for that ending with the chair revealing Bates's mother's corpse (I thought it was a doll) and then Bates rushing in dressed like an old woman with his knife. That scene will forever be emblazoned in my mind both for its shock value and sheer hilarity. I know it wasn't exactly what Hitchcock was going for but there was something so gut-bustingly funny about Bates's entrance partly because he does look a little silly but mostly because of how unexpected it was much akin to the endorphin-fueled laughter one gets after one rides a roller coaster. The combination of excitement and fear inexplicably gives a feeling of happiness at the appreciation of such a good shock. Even more important than the mirth this scene induced upon me is the standard it set for movies to come. Hitchcock was one of the first who started this trend of suspense movies with twists in the end of which we have many of today executed at various degrees of proficiency (with M. Knight Shayamaladong being the punchline for such movies).

If I had to nitpick, I would say that the exposition at the end was a bit excessive. It dragged on for too long, sucked out the wonder and mystery of the story and most of what was said could have been figured out by ourselves. We didn't need it spoonfed to us. Sometimes less is more.

Regardless it was a pretty great movie, possibly one of the few "perfect" movies that exist and a truly great and memorable experience.

[psiko]

Un dito ar culo.

Ci sono poi film come E venne il giorno, film che non mi sono piaciuti e che sono contento che non mi siano piaciuti, perché se mi fossero piaciuti, mi sarebbe piaciuto un film che fa cacare.

da il post su Insegna Provvisoria. post che spara amabilmente sull'ultimo Shyamalan. ovvero la prima cosa cui ho pensato, mentre ascoltavo questa cosa qua. Ascoltare, poi. Come se l'espressione di disgusto mista ad uno sbadiglio (data l'ora) contempli l'ascolto di qualcosa. Non ti scordare mai di me. Ecco. Poi uno ti chiede perché non hai mai guardato neanche un fotogramma di quel programma. E tu non hai le palle di Oh. Dici altro. Parli del Castoldi. Di quando eri al ginnasio e ti piaceva tanto. Però, da codardo, lo pensi. Non ti scordare mai di me. Non hai bisogno di sapere che l'ha scritta Tiziano Ferro. Fa già cagare di suo.