Svaštara 6

Dobro je. vec sam pomislio da ce biti zezancije sto mi se svideo film... Malo je reci da sam se odusevio sinoc dok sam ga gledao, stvarno mi se svideo, sve je uradjeno stvarno jako, jako dobro...

Kjubrikov film ne moze biti los. Bio je nezampamcen perfekcionista. Prosto je neverovatno da nikada nije dobio oskara, a bio je sigurno jedan od najboljih reditelja u istoriji. Verujem da je malo onih koji nisu gledali Paklenu pomorandzu, Odiseju u svemiru...

zadnjih godina u Srbiji se od stranih klubova najviše vole Barsa, Liverpul, Mančester... A jedini koje ja gotivim bar približno kao Partizan su dugo bili u kanalu. Ipak, izleda da se budi neki novi Juventus, imaju novi stadion, potpuno novu ekipu i stari šarm.

Atmosfera je fantastična, puno bolja nego na starom Dele Alpiju, a sinoć su stradali milanski cigani.

Neverovatno kakva je razlika kada igraju kod kuce i u gostima. Juce kompletna dominacija a protiv Katanije pre nedelju dana ja zaista ne znam kako nisu pukli ubedljivo. Katanija je na 1:1 izlazila 2 puta 2 na 1 sa golmanom i imala neobjasnjive poteze.

Ne znam, ja recimo nisam pristalica takvih stvari, vise, mnogo vise zalim lika koji je to snimao...

Nije ni ovo za popis lose..

Obožavam ovu pesmu!!!

Junglezburn ::

Pravoslavni dzedaj

Divno, divna, baš baš....

Bravo za izbor Tazz.

Jeste da su male sanse da ce mi neko pomoci ali rekoh da probam, valjda ima ljubitelja dosije iksa na forumu. Evo ovako, secam se da sam kao klinac jednu noc zakasnio sa gledanjem serije pa sam samo odgledao poslednjih 15-ak minuta. U tom delu sto sam ja gledao jedan covek sedi u nekoj sobi i prica u kameru ( odnosno nama neke nebuloze ), umirao sam od smeha a kasnije nikako nisam mogao ponovo da nadjem tu epizodu.
Sad se setih toga ali jbg, malo podataka da bi se setio cele serije. Ako neko mozda zna ili misli sta bi moglo da bude, neka napise, u suprotnom cu kada budem imao vremena morati na youtube pa jednu po jednu seriju da prelistam da vidim koja bi mogla biti. Siguran sam da je u prvih 5 ili 6 serijala, znam da kasnije sigurno nije...

Mihael ::Jeste da su male sanse da ce mi neko pomoci ali rekoh da probam, valjda ima ljubitelja dosije iksa na forumu. Evo ovako, secam se da sam kao klinac jednu noc zakasnio sa gledanjem serije pa sam samo odgledao poslednjih 15-ak minuta. U tom delu sto sam ja gledao jedan covek sedi u nekoj sobi i prica u kameru ( odnosno nama neke nebuloze ), umirao sam od smeha a kasnije nikako nisam mogao ponovo da nadjem tu epizodu.
Sad se setih toga ali jbg, malo podataka da bi se setio cele serije. Ako neko mozda zna ili misli sta bi moglo da bude, neka napise, u suprotnom cu kada budem imao vremena morati na youtube pa jednu po jednu seriju da prelistam da vidim koja bi mogla biti. Siguran sam da je u prvih 5 ili 6 serijala, znam da kasnije sigurno nije...

Ja za radnim stolom



Elem, epizoda za koju se interesujes moze da bude na primer "X-Cops" (7. sezona - epizoda 12). To je epizoda radjena po popularnoj Foxovoj emisiji COPS, u kojoj novinar sedi na zadnjem sedistu policijskog patrolnog automobila i sa pandurima snima sve ono sto im se dogadja. Te veceri je pratio Moldera i Skali kako patroliraju i pokusavaju da pronadju nekakvo cudoviste na koje se zali pola komsiluka u nekakvom pregradju. Epizodu ces prepoznati po pesmi "Bad boys" koja otvara epizodu. Epizoda je radjena u prvom licu, prakticno sa mobilnom kamerom koju nosi novinar. Moguce da u jednom trenutku neko prica duze vreme analizirajuci slucaj.

Nije ta, proverio sam...

Proveio sam i neke smesne epizode koje su ljudi napisali na netu alli nisam ni sa tim imao srece...

Hvala u svakom slucaju!

30 Best '90s Movies



Braveheart (1995)

Why It’s The Best: Mad Mel’s grasp of history has never been the best, but he certainly knows how to put together a battle scene, as proved here in a number of blood-spattered set-pieces. Gibson was one of Hollywood’s most bankable stars at this stage of his career, and it’s easy to see why. His wild-eyed, stout-hearted William Wallace is one of the greatest action heroes ever committed to celluloid! So what if he’s got it in for the English? It’s still a cracking film.


Point Break (1991)

Why It’s The Best: Allow us this guilty pleasure. Because whilst Point Break might be outrageously camp overblown nonsense, it’s also one of the most exciting “pure” action films of the '90s. From the explosive footchase, to the breathtaking skydive via one of the most brutally exciting police raids you could hope to witness (Keanu getting put on his backside by a naked woman never fails to raise a smile), Kathryn Bigelow’s film barely lets up from the first scene to the last. Plus, Gary Busey’s in it, which automatically bumps it up a notch in our estimation.


American History X (1998)

Why It’s The Best: Ed Norton is nothing short of phenomenal in this unflinching study of racial hatred in L.A.’s Venice Beach. Playing both the vengeful white supremacist and penitent reformee with equal flair, it’s a mesmerising dual-role to rank alongside his more celebrated work in Fight Club. Special praise should also go to Edward Furlong as Norton’s younger brother, who brings a heady mix of insolence and vulnerability to the less showy supporting role.


True Romance (1993)

Why It’s The Best: Quentin Tarantino pens his own personal fairytale in this presposterous yarn about a video-store clerk who beats the mob and gets the girl. Improbable it might be, but that’s not to say it isn’t ludicrously entertaining, with director Tony Scott keeping the action coming thick and fast, and a staggeringly starry cast bringing QT’s punchy script to life with obvious glee. When Samuel L. Jackson, Dennis Hopper, Chris Walken, Gary Oldman and Brad Pitt are only the supporting players, you know you’re onto a winner.


Magnolia (1999)

Why It's The Best: Paul Thomas Anderson had already demonstrated his ability to wrangle an epic ensemble in Boogie Nights, and he repeated the trick with Magnolia. What's impressive is the way he unites so many great talents to the service of the story, which is both intricate and intimate. There's no showboating here (well, maybe a little from the Cruiser), and while the weighty themes are juggled with care and consideration, there's still plenty of room for surprises.


Boyz N The Hood (1991)

Why It’s The Best: John Singleton’s staggeringly mature debut gives the traditional coming-of-age story an urban update, as childhood friends Ice Cube, Morris Chestnut and the Oscar-winning Cuba Gooding Jr. embark on very different paths against the backdrop of a tough Los Angeles neighbourhood. Conveying a strong moral message without ever coming off as worthy or sanctimonious, Singleton’s social drama is as relevant today as it was some 20 years ago.


Toy Story (1995)

Why It’s The Best: Pixar single-handedly changed the nature of animated films (and indeed family films altogether) with this heartwarming CGI tale of a group of sentient toys. The film would go on to revive Disney’s post-Golden Age fortunes, and set a new template for family viewing, revolving around cutesy action for the kids and knowing in-jokes for the grown-ups. The key ingredient of course, was the cast of loveable, well-drawn characters. Two sequels and 16 years later, we’re as fond of Woody and co. as we ever were!


Unforgiven (1992)

Why It’s The Best: The last great western? Quite possibly, unless of course you count the smaller screen’s superlative Deadwood. In any case, Clint Eastwood is superb as ageing gunslinger William Munny, who finds himself coaxed out of retirement by the lure of one last payday. As well as the central performances, the proceedings are enhanced by a glorious, end-of-an-era melancholy, whilst the wild American landscapes (actually filmed in Canada) are suitably breathtaking. A marvellous swansong to a dying genre.


Terminator 2: Judgment Day (1991)

Why It’s The Best: If the original Terminator film was an exciting, sci-fi romp, this second instalment tops it in almost every criteria. As excellent as Arnie was as the unstoppable villain first time around, it’s even more fun to be able to root for him as he takes young John Connor under his not inconsiderable wing. Robert Patrick also deserves a pat on the back for serving up a villain every bit as hissable as Schwarzenegger’s pumped-up original.


The Thin Red Line (1998)

Why It’s The Best: Terrence Malick’s wartime masterpiece is often overlooked in favour of Spielberg’s more bombastic Saving Private Ryan. However, whilst The Thin Red Line might not have anything to rival the Omaha landings in terms of set-piece excitement, it remains a far more convincing portrayal of men at war. It might be slow at times, but Malick’s lavish depiction of human beings at breaking point is well worth revisiting.


Fargo (1996)

Why It’s The Best: The Coens’ offbeat thriller manages to successfully tread the tricky line between comedy and drama, throwing in plenty of laughs whilst managing to maintain a vice-like tension as the macabre storyline comes to the boil. As heavily pregnant cop Marge Gunderson (Frances McDormand) makes off with nearly every scene, but Peter Stormare and Steve Buscemi are also excellent as a pair of seedy crooks, as is William H. Macy’s increasingly jittery salesman, caught at the heart of the film’s tangled web.


Clerks (1994)

Why It’s The Best: Kevin Smith has never bettered this ultra-low-budget slacker-com, which astutely captures the tedium and self-loathing involved in working a shitty job. Packed full of laugh-out-loud moments (“My girlfriend sucked 37 dicks!” – “In a row?”) and oddball characters, it’s far more entertaining than any film set entirely in a convenience store has any right to be.


Glengarry Glen Ross (1992)

Why It’s The Best: David Mamet translates his award winning play to the big screen with consummate ease, employing a wonderfully talented cast to bring his hugely talky script to life. Alec Baldwin’s bullying cameo is oft-celebrated, whilst Al Pacino, Kevin Spacey, Ed Harris and Alan Arkin all turn in powerful performances, but it’s Jack Lemmon’s increasingly desperate salesman who really steals the show. The scene in which he stands huddled in a phone box, soaked to the skin whilst desperately attempting to close a deal, is nothing short of heartbreaking


The Matrix (1999)

Why It’s The Best: Whilst The Matrix’s legacy has been soured somewhat by a pair of semi-incomprehensible sequels, one shouldn’t forget just quite how thrilling the original really was. Not only do the bullet-time effects still get the pulse racing 12 years on, but the sci-fi plot rattles along at a fair old lick without getting bogged down in the cod-philosophy of the later installments. Even Keanu is a fairly credible hero, his character’s perpetual bemusement suiting his vacant delivery down to a tee!


Trainspotting (1996)

Why It’s The Best: The film that singlehandedly gave British filmmaking a much needed boot up the backside, Danny Boyle’s foul-mouthed addiction saga was a welcome antidote to the rom-oms and period dramas that had begun to dominate this country’s cinematic output. It might not have been an easy watch, what with its cast of heroin addicts, dead babies and psychopaths, but for the first time in a long time, we were treated to a British film that felt both vital and relevant. Oh, and Begbie’s just great, isn’t he?


The Big Lebowski (1998)

Why It’s The Best: Arguably the Coens’ best-loved feature, the eminently quotable The Big Lebowski is perhaps the film that best demonstrates the brothers’ unique style. Populated by a cast of memorable weirdos, punctuated with bouts of screwball humour and boasting a dark streak a mile wide, it’s a profoundly odd film and one that’s nigh-on impossible to pigeonhole. The Coens have certainly made more fluent films in their illustrious career, but perhaps none so memorable as The Big Lebowski.


Heat (1995)

Why It’s The Best: Pacino and De Niro, on-screen together at last. Alright, it only lasts for a single scene, but what a scene it is! That’s not to say that Michael Mann’s sleek crime thriller isn’t an adrenaline soaked ride from start to finish, but that scene in the diner really takes it to the next level. Both men are superb throughout and, when they finally come face to face, the atmosphere is simply electric.


The Silence Of The Lambs (1991)

Why It’s The Best: Jonathan Demme’s superlative take on the classic Thomas Harris chiller is a rare example of an adaptation that surpasses its source material. This is largely thanks to a pair of powerhouse performances from Jodie Foster and Anthony Hopkins, the former making the most of steely FBI agent Clarice Starling whilst the latter cranks the madness up to 11 to create one of the most memorable big-screen villains in history. Chianti, anyone?


The Usual Suspects (1995)

Why It’s The Best: Taking the twist out of the equation for a moment, Bryan Singer’s labyrinthine thriller works brilliantly well as a generic crime film, what with its kinetic action sequences and stellar cast, not to mention Chris McQuarrie’s Oscar-winning script. But throw in the jaw-dropping reveal in the final scenes, played to perfection by Kevin Spacey and Chazz Palminteri, and you’ve got something very special indeed. The ending still gives us goosebumps


Jurassic Park (1993)

Why It’s The Best: Unquestionably Spielberg’s most magical film since E.T., Jurassic Park ushered in a new era of sfx-driven wonder by rejuvenating the scaly denizens of yesteryear in spectacularly visceral style. When Sam Neil first catches a glimpse of a magisterial Brachiosaur, you can’t help but share his sense of excitement! And that’s before we’ve even had a sniff of the T-Rex…


L.A. Confidential (1997)

Why It’s The Best: Curtis Hanson gives James Ellroy’s pulpy crime saga the Rolls Royce treatment, with an A-list cast breathing life into the none-too-angelic residents of the City of Angels. Russell Crowe, James Cromwell and Danny DeVito are violent, crooked and scurrilous respectively, whilst Kevin Spacey and Kim Basinger bring some welcome, if tainted, glitz to proceedings. Meanwhile, Guy Pearce’s supposed hero finds himself taken to some very dark places indeed, as his sense of morality goes head-to-head with an all-conquering lust for power. Whilst the characters of most pulp crime stories are two-dimensional ciphers, there are more shades of grey here than you can shake a stick at.


Se7en (1995)

Why It’s The Best: David Fincher’s bleak crime saga is a deliciously contrary proposition, serving up traditional genre archetypes (crazed killer, world-weary cop, fast-talking young partner) before turning them on their heads with a series of macabre twists and turns. Brad Pitt and Morgan Freeman make for a brilliantly mismatched double act, whilst Kevin Spacey has a ball with his limited screen-time as their twisted tormenter. And then there’s poor old Gwyneth…


American Beauty (1999)

Why It’s The Best: An Oscar-winner in a particularly strong year for American film, American Beauty’s trump card is a wonderful central performance from one of the decade’s most charismatic actors. Kevin Spacey’s manages to imbue his depressive everyman with seedy bitterness but also warmth – an extremely tricky combination to pull off. The supporting cast are uniformly excellent, but this is Spacey’s movie, and one he was rightly rewarded for with an Academy Award.


Why It’s The Best: Spielberg’s holocaust drama could hardly fail to pack a punch given the nature of its subject material, but credit is still due to the sensitive, hopeful portrayal of one of history’s darkest hours. That said, there have been criticisms levelled at the film for appearing too optimistic and perhaps a little too schmaltzy. However, such complaints fail to account for the director’s attempts to engage with a large audience. To strip away all hope would result in a film that few would be able to stick with. Spielberg’s success lies in his ability to tell a story that manages to entertain without shying away from the true horror of his subject. No small feat.


Reservoir Dogs (1992)

Why It’s The Best: A heist movie without a heist… it didn’t sound like a winning formula on paper, but then again, nobody had heard of Quentin Tarantino before this one burst into cinemas. The ear-hacking violence undeservedly hogged much of the film’s initial attention, but it’s the triple-header of dialogue, cast and soundtrack that really merits talking about. It takes confidence to open a film with a monologue about Madonna’s preference for big dicks, but then again, that’s never really been a problem for Quentin, has it?


Groundhog Day (1993)

Why It’s The Best: For our money, Bill Murray’s sneering turn as surly weatherman Phil Connors is the best comic performance of the decade. He did a similar thing in 1988’s Scrooged, but this time around, the high-concept framework provides a more effective foil for his acerbic clowning. And despite the snarky tone of much of the humour, the film still manages to make a grab for the heartstrings without ever becoming cloying or saccharine. Even Andie MacDowell is tolerable, which is really saying something…


GoodFellas (1990)

Why It’s The Best: Scorsese’s gangster epic might not be quite as operatic as The Godfather, but it’s cast of cackling, psychotic wiseguys are every bit as memorable as the Corleone clan. In terms of plot, it’s a pretty conventional rise and fall yarn, but the fact that it feels so fresh is a credit to Scorsese’s vibrant screenplay, co-written with the real Henry Hill, Nicholas Pileggi. Presumably, finding room for the script’s 296 “fucks” was something of a joint effort…


Fight Club (1999)

Why It’s The Best: David Fincher’s pitch-black adaptation of Chuck Palahniuk’s nihilistic novel boasts a pair of career-best performances from Ed Norton and Brad Pitt and also finds room for Meat Loaf and a prodigious pair of man-boobs. Funny, sexy and more than a little disturbing, it’s portrayal of a disaffected gen(d)eration is the perfect example of cult filmmaking gone mainstream.


The Shawshank Redemption (1994)

Why It’s The Best: Currently sitting pretty at the top of IMDb’s Top 250, Frank Darabont’s prison movie has come a long way from the box office hiding that looked to have killed it stone dead. However, a dedicated VHS following married with frequent TV screenings eventually gave the film the audience it so richly deserved. Yes, it’s sentimental at times, but it’s got an oft-forgotten edge to it as well. The “new fish” scene sticks in the memory, as does Andy’s repeated skirmishes with “The Sisters”. However, it’s the performances that really elevate Shawshank to the pantheon of the greats. Has a male friendship ever been more touchingly portrayed than by Tim Robbins and Morgan Freeman? We think not.


Pulp Fiction (1994)

Why It’s The Best: If Reservoir Dogs had already proven Quentin Tarantino’s aptitude for snappy, culture-savvy dialogue, Pulp Fiction demonstrated an equally impressive flair for storytelling. The achingly hip one-liners are still present and correct, but this time the relatively slight storyline of Reservoir Dogs is replaced by a trio of interweaving narratives, all three of which stand up perfectly well on their own. Throw in a typically note-perfect soundtrack, and some of the most inspired casting of the decade (John Travolta must still be pinching himself) and you’ve got our number one film of the '90s. Come on, let’s get into character…






dolazi zima, duga i hladna... ja sam i dalje u grupi nezaposlenih (danas zvanično i popisan kao takav) pa ću narednih mjeseci biti zatvoren u kući. Nisam neki zagriženi filmofil, ali u zadnje vrijeme sam se navukao na torentovanje. E za naredne mjesece planiram da "prečešljam" ovu listu. Većinu toga sam gledao, ali to je uglavnom bilo ili jako davno ili u velikom društvu bez puno pažnje pa je obajatilo.

90-ih se ne moramo sjećati samo po nakaradnoj domaćoj muzici, već i po ovome.

Sa liste bih posebno izdvojio The Shawshank Redemption, GoodFellas i The Big Lebowski.
American Beauty je nevidjeno sranje.
Zasto nisu na listi Good Will Hunting, The talanted Mr. Ripley, This boys life, My cousin Vinny (obozavam ovaj film), Donnie Brasco...?

Serj i njegov Tata u akciji!

Odlično Mihael!

Meni je hladno, hladno.


jedva cekam prolece/leto. Mada je meni i tada hladno.

Drex, lista jester dosta americki nastrojena, ali daje dosta realan pregled onoga sto je doticna kinematografija dala tokom te dekade... Dodao bih jos par ostvarenja, ali gotovo sve ponudjeno vredi odgledati ...

Ray Allen ::Sa liste bih posebno izdvojio The Shawshank Redemption, GoodFellas i The Big Lebowski.
American Beauty je nevidjeno sranje.
Zasto nisu na listi Good Will Hunting, The talanted Mr. Ripley, This boys life, My cousin Vinny (obozavam ovaj film), Donnie Brasco...?

Cini mi se da ni jedan od ponudjenuh filmova nije ostavio Bog zna kakav trag da bi bio na listi izuzev, eventualno, Willa Huntinga (i njegvih cuvenih ovaca i zelje da bude pastir)... Za American Beauty se totalno ne slazem, ako ni zbog cega, ono zbog odlicnog Kevina Spejsija...

Ni jedna lista nije savrsena i uglavnom nece dati svakom pojedincu potpunu satisfakciju. Dakle, iako sam odgledao vecinu ovih filmova, a neki mi se svidjaju manje, neki vise, i dalje mislim da o ukusima ne treba raspravljati i dodavati svoje favorite, jer lista uopste nije losa za opsti uvid u kinematografiju preko bare 90ih... Nekako mi to dodavanje zvuci, pa, previse selektorski...

Slazem se sa Vukom, ukusi su razliciti, verujem da bi svako od nas izmenio listu bar za 2-3 filma i to je normalno...

Slazem se i za Spejsija, vrhunski glumac, stvarno neverovatan...

Ja recimo, ako me zanima nesto vezano za neki film, uvek odem na imdb i tamo pogledam malo vise stvari vezanih za film. Evo recimo njihove liste top 250 filmova ( filmove moze da ocenjuje svako ko je registrovan na sajtu ).

http://www.imdb.com/chart/top

Sedmica, Kad Jaganjci Utihnu, Trainspotting, Bekstvo Iz ŠoŠenka. Odlični filmovi po meni, filmovi, koji bi u nekoj mojoj (mada ko mene pita) listi uvek bili u 10.