I really love this movie despite of some critics idea i think it has full of artistic and philisophical subject and it’s awesome!see what you can see

Fight Club is a 1999 American film based on the 1996 novel of the same name by Chuck Palahniuk. The film was directed by David Fincher and stars Edward Norton, Brad Pitt, and Helena Bonham Carter. Norton plays the unnamed protagonist, an “everyman” who is discontented with his white-collar job in American society. He forms a “fight club” with soap maker Tyler Durden, played by Pitt, and becomes embroiled in a relationship with him and a dissolute woman, Marla Singer, played by Bonham Carter.

Palahniuk’s novel was optioned by 20th Century Fox producer Laura Ziskin, who hired Jim Uhls to write the film adaptation. Fincher was one of four directors the producers considered; they hired him because of his enthusiasm for the film. Fincher developed the script with Uhls and sought screenwriting advice from the cast and others in the film industry. The director and the cast compared the film to Rebel Without a Cause (1955) and The Graduate (1967). Fincher intended Fight Club‘s violence to serve as a metaphor for the conflict between a generation of young people and the value system of advertising. The director copied the homoerotic overtones from Palahniuk’s novel to make audiences uncomfortable and keep them from anticipating the twist ending.

Studio executives did not like the film, and they restructured Fincher’s intended marketing campaign to try to reduce anticipated losses. Fight Club failed to meet the studio’s expectations at the box office, and received polarized reactions from critics. It was cited as one of the most controversial and talked-about films of 1999. However, the film later found commercial success with its DVD release, which established Fight Club as a cult film. Critical reception of Fight Club has since become more positive as well.

“Fight Club” is the most frankly and cheerfully fascist big-star movie since “Death Wish,” a celebration of violence in which the heroes write themselves a license to drink, smoke, screw and beat one another up.

Sometimes, for variety, they beat up themselves. It’s macho porn — the sex movie Hollywood has been moving toward for years, in which eroticism between the sexes is replaced by all-guy locker-room fights. Women, who have had a lifetime of practice at dealing with little-boy posturing, will instinctively see through it; men may get off on the testosterone rush. The fact that it is very well made and has a great first act certainly clouds the issue.

Edward Norton stars as a depressed urban loner filled up to here with angst. He describes his world in dialogue of sardonic social satire. His life and job are driving him crazy. As a means of dealing with his pain, he seeks out 12-step meetings, where he can hug those less fortunate than himself and find catharsis in their suffering. It is not without irony that the first meeting he attends is for post-surgical victims of testicular cancer, since the whole movie is about guys afraid of losing their  cojones.

These early scenes have a nice sly tone; they’re narrated by the Norton character in the kind of voice Nathanael West used in  Miss Lonelyhearts.  He’s known only as the Narrator, for reasons  later made clear. The meetings are working as a sedative, and his life is marginally manageable when tragedy strikes: He begins to notice Marla (Helena Bonham Carter) at meetings. She’s a “tourist” like himself–someone not addicted to anything but meetings. She spoils it for him. He knows he’s a faker, but wants to believe everyone else’s pain is real.

On an airplane, he has another key encounter, with Tyler Durden (Brad Pitt), a man whose manner cuts through the fog. He seems able to see right into the Narrator’s soul, and shortly after, when the Narrator’s high-rise apartment turns into a fireball, he turns to Tyler for shelter. He gets more than that. He gets in on the ground floor of Fight Club, a secret society of men who meet in order to find freedom and self-realization through beating one another into pulp.

It’s at about this point that the movie stops being smart and savage and witty, and turns to some of the most brutal, unremitting, nonstop violence ever filmed. Although sensible people know that if you hit someone with an ungloved hand hard enough, you’re going to end up with broken bones, the guys in “Fight Club” have fists of steel, and hammer one another while the sound effects guys beat the hell out of Naugahyde sofas with Ping-Pong paddles. Later, the movie takes still another turn. A lot of recent films seem unsatisfied unless they can add final scenes that redefine the reality of everything that has gone before; call it the Keyser Soze syndrome.

What is all this about? According to Durden, it is about freeing yourself from the shackles of modern life, which imprisons and emasculates men. By being willing to give and receive pain and risk death, Fight Club  members find freedom. Movies like “Crash” must play like cartoons for Durden. He’s a shadowy, charismatic figure, able to inspire a legion of men in big cities to descend into the secret cellars of a Fight Club and beat one another up.

Only gradually are the final outlines of his master plan revealed.  Is Tyler Durden in fact a leader of men with a useful philosophy? “It’s only after we’ve lost everything that we’re free to do anything,” he says, sounding like a man who tripped over the Nietzsche display on his way to the coffee bar in Borders. In my opinion, he has no useful truths. He’s a bully–Werner Erhard plus S & M, a leather club operator without the decor. None of the Fight Club members grows stronger or freer because of their membership; they’re reduced to pathetic cultists. Issue them black shirts and sign them up as skinheads. Whether Durden represents hidden aspects of the male psyche is a question the movie uses as a loophole–but is not able to escape through, because “Fight Club” is not about its ending but about its action.

Of course, “Fight Club” itself does not advocate Durden’s philosophy. It is a warning against it, I guess; one critic I like says it makes “a telling point about the bestial nature of man and what can happen when the numbing effects of day-to-day drudgery cause people to go a little crazy.” I think it’s the numbing effects of movies like this that cause people go to a little crazy. Although sophisticates will be able to rationalize the movie as an argument against the behavior it shows, my guess is that audience will like the behavior but not the argument. Certainly they’ll buy tickets because they can see Pitt and Norton pounding on each other; a lot more people will leave this movie and get in fights than will leave it discussing Tyler Durden’s moral philosophy. The images in movies like this argue for themselves, and it takes a lot of narration (or Narration) to argue against them.

Lord knows the actors work hard enough. Norton and Pitt go through almost as much physical suffering in this movie as Demi Moore endured in  “G.I. Jane,” and Helena Bonham Carter creates a feisty chain-smoking hellcat who is probably so angry because none of the guys thinks having sex with her is as much fun as a broken nose. When you see good actors in a project like this, you wonder if they signed up as an alternative to canyoneering.

The movie was directed by David Fincher and written by Jim Uhls, who adapted the novel by Chuck Palahniuk. In many ways, it’s like Fincher’s movie “The Game” (1997), with the violence cranked up for teenage boys of all ages. That film was also about a testing process in which a man drowning in capitalism (Michael Douglas) has the rug of his life pulled out from under him and has to learn to fight for survival. I admired “The Game” much more than “Fight Club” because it was really about its theme, while the message in “Fight Club” is like bleeding scraps of Socially Redeeming Content thrown to the howling mob.

Fincher is a good director (his work includes “Alien 3,” one of the best-looking bad movies I have ever seen, and “Seven,” the grisly and intelligent thriller). With “Fight Club” he seems to be setting himself some kind of a test–how far over the top can he go? The movie is visceral and hard-edged, with levels of irony and commentary above and below the action. If it had all continued in the vein explored in the first act, it might have become a great film. But the second act is pandering and the third is trickery, and whatever Fincher thinks the message is, that’s not what most audience members will get. “Fight Club” is a thrill ride masquerading as philosophy–the kind of ride where some people puke and others can’t wait to get on again.

The seed of CoreWay was sown in Early spring 2009, when winter still had its grip on the country of the north: Sweden.

Mike and Pete had only been aquinted to eachother for a month, but things were about to happen in a short time.

Mike had for a few years had the idea of making Dance Music including electric guitars, but had yet to found a guitarist with the skills and interest in this kind of project.

He invited Pete to a jamming session in his studio to check for skills and musical interest. It was an instant match. Not only did they work extraordinary well in the studio, but they also had a similar view of music.

Almost instantly they became very close friends, and it became clear that this was the person Mike had been looking for. He approached Pete with his idea of fusing Dance with Rock, and they decided to give it a shot.

And so…as the first Light of Summer came, CoreWay was born!

Mikael Baggström – Biography

Mikael  started his musical life with simple flute lessons at the age of 8,  which progressed to Piano a year later, and he continued taking piano  lessons up to the age of 15.

In high school, he took up the art of DJ´ing and was fascinated with both PA-Sound and Light Effects.

At 16 he produced his first track, which was played at some local parties.

In 2001 he started a collaboration with Bas van Dijk from  Holland, forming the act known as “Lost Lagoon”. They produced many  tracks, some of which were played on major Dance Events.

A few years later, he wanted to deepen his knowledge in music, and  began studying music theory. He set his mind to explore the possibilites  and his goal to become a composer for the TV/Film/Computer-industry.

He produced many tracks, and started building his network in the  industry, but in 2009 he formed the new act “CoreWay” together with  Peter Strömberg.

And while he is still fixed on his goal in becoming a successful full-time composer CoreWay will take up much time and energy and is now the major focus.

Peter Strömberg – Biography

Peter  Strömberg is a guitarist and songwriter who grew up with in the very  vein of the 80’s rock scene. Starting his musical endeavors at the age  of 15, he began to explore the powerful riffs and melodies of famous  bands like Metallica and Iron Maiden.

In a rapid speed he grew talent in both technique and tone, and  enjoyed the experience of playing live at various clubs and events with a  rock band.

After a few years of playing it was made clear that the heavy  practicing and rehearsing had served as stepping stones for a new phase  of studio recordings and song writing in his musical career. Inspired by  the roots of classic rock and modern metal, the foundations of his band  EmberStorm was completed in the middle of 2006, which resulted in his  first debut album entitled Memories of Time three years later.

The style of Peter Strömbergs compositions is a mixture of various  rock elements, stretching all the way from clean acoustic to fast and  technical solos and scales. In the formation of CoreWay, Peter  contributes with melodic ideas and a second angle of producer experience  from the rock scene.
The variety of guitar contributions and effects across the album  will most certainly lead to situations where some of the riffs will be  interpreted as synthesizers instead of guitars.

Besides from music, Peter is currently  working to obtain a degree in Business Administration and Economics at  one of the Swedish universities. He likes to read and watch movies, and  his motto is to seize the point rather than day.

From http://coreway.se

Boardwalk Empire is an American television series from cable network HBO, set in Atlantic City, New Jersey, during the Prohibition era. It stars Steve Buscemi as Enoch “Nucky” Thompson. The show was adapted from a book about historical criminal kingpin Enoch “Nucky” Johnson by Nelson Johnson entitled Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City, by Emmy Award-winning screenwriter and producer Terence Winter of The Sopranos.

The first episode, with a final cost of $18 million,  was directed by Martin Scorsese and was the most expensive pilot episode produced in television history. He won the Directors Guild Award for Outstanding Directorial Achievement in Dramatic Series. On September 1, 2009, HBO picked up the series for an additional 11 episodes.It premiered on September 19, 2010.The series was immediately renewed for a second season on September 20, 2010,which will premiere on HBO on September 25, 2011.

Boardwalk Empire has received widespread critical acclaim since its premiere and has been nominated for two Writers Guild of America Awards, for Best Writing in a Dramatic Series and Best Writing in a New Series, and won a Golden Globe for best Dramatic Series. In addition, at the 2010 Golden Globes, Steve Buscemi won for Best Actor in a Dramatic Series and Kelly Macdonald was nominated for Best Supporting Actress in a Series, Miniseries or Motion Picture Made for Television.

Synopsis:

Boardwalk Empire is a period drama focusing on Enoch “Nucky” Thompson (based on the historical Enoch L. Johnson),a political figure who rose to prominence and controlled Atlantic City, New Jersey during the Prohibition period of the 1920s and 1930s. Nucky interacts with several historical figures in both his personal and political life, including mobsters, politicians, government agents, and the common folk who look up to him.The federal government also takes an interest in the bootlegging and other illegal activities in the area, sending agents to investigate possible mob connections but also looking at Nucky’s lifestyle –expensive and lavish for a county political figure.

Alexa Davalos Dunas was born in Paris, France on May 28, 1982; and although born in France she comes from Greek decent. An only child fluent in English, Greek, and French; Alexa relocated to Los Angeles from New York. She made her first screen appearance in John Frankenheimer’s “Riviera” when she was 3. Her love of performing took root when her family relocated to New York City and Davalos became involved with ballet. Following her mother (Elyssa Davalos, a notable television and theater actress) and grandfather (Richard Davalos, legendary for his performance as James Dean’s brother in “East of Eden”)from set to set allowed Davalos a unique insight into the world of acting.

Throughout Davalos’ childhood, her mother continued training with Stella Adler. Davalos sat in on some of those classes and remembers the
experience as having a profound impact on her desire to act. In her early teen years, she spent most of her time on location or in the theater with her mother, doing anything to be involved. It was also around this time that she made her first commercial with Patty Hansen. She has worked as a model with such prominent photographers as Peter Lindbergh and her father, Jeff Dunas, and has been studying acting in
New York at The New School and working at the renowned Flea Theater.

The brunette stunner spent the ensuing years modeling and appearing in theatrical productions while also pursuing her love of ballet. By 2002, Alexa was ready for her breakout. She entered primetime that year with an appearance in FOX’s quirky show Undeclared in addition to a recurring role as ass kicker Gwen Raiden in Angel.

Before Angel, Alexa co-starred with Vin Diesel in “The Chronicles of Riddick” and also co-starring Thandie Newton, Judi Dench and Colm Feore.She was seen in Larry Gelbart’s “And Starring Pancho Villa as Himself,” directed by Bruce Beresford for HBO Films, opposite Antonio Banderas. The film is based on the story of Mexican revolutionary Pancho Villa, who made a deal with legendary Hollywood director D.W. Griffith and Harry Aitken to help the filmmakers stage the first Hollywood action movie by essentially putting the cameras right in the middle of battle. Davalos played Teddy Sampson, a young actress starring in the film whose acting chops allowed her to portray someone else after cameras stopped rolling.

Prior to that, Davalos starred in “The Ghost of F. Scott Fitzgerald ,” in 2002, a Charles Lyons’ directorial debut. This short film follows James Powell, a college senior, who falls for Bess Gunther, played by Davalos, a sophomore. However, the attractive Bess is deeply in love with F. Scott Fitzgerald, or Scotty, as she likes to call him. The obsession leads Bess down a road James prefers not to follow. Years later, he wonders whether she’s the one that got away. “The Ghost of F. Scott Fitzgerald,” an official selection to the 2002 Toronto Film Festival, and in “Disturbing the Peace,” the directorial debut of noted writer Mark Bomback, for the 2002 Sundance Institute’s Director’s Lab. The project is writer/director Bomback’s adaptation of a Richard Yates novel. The story follows a suburbanite who thinks his life should be so extraordinary he makes rash decisions in the hopes of attaining it. Davalos stars as a young woman who has an affair with him to test the boundaries of her power over men.

Alexa Davalos most recently starred as Diane Keaton’s daughter in “Surrender, Dorothy,” a telepicture dealing with a mother’s loss of her child. Davalos also starred in the FOX short-lived series “Reunion” where a group of adolescents were followed throughout a 20 year period allowing fans to unravel a web of lies, secrets, and murder. Currently, Alexa is exploring her options and seeing what is out there and Alexa Davalos Web will be the first to report on her next move.

Super 8 is a 2011 American science fiction film written and directed by J. J. Abrams and produced by Steven Spielberg. The film stars Joel Courtney, Elle Fanning, and Kyle Chandler and was released on June 10, 2011in conventional and IMAX theaters. The film tells the story of a group of children who are filming their own Super 8 movie when a train derails, releasing a dangerous presence into their town. The movie was filmed in Weirton, West Virginia and surrounding areas.

Rreviews:

Rotten Tomatoes:

INFO:

In the summer of 1979, a group of friends in a small Ohio town witness a catastrophic train crash while making a super 8 movie and soon suspect that it was not an accident. Shortly after, unusual disappearances and inexplicable events begin to take place in town, and the local Deputy tries to uncover the truth – something more terrifying than any of them could have imagined.
David Denby: Spielberg and Abrams are the unwitting targets of their own irony.
Christopher Orr: A love letter to a cinematic era, before ‘blockbuster’ became a synonym for ‘franchise’ or ‘tent pole.’
Tom Long: Remember the good old days? This is the movie you went to see on a Saturday afternoon in the good old days.

More…

Peter Bradshaw From guardian.co.uk:

JJ Abrams‘s amiable, ever so slightly disappointing mystery adventure is a weird hybrid. It’s an affectionate tribute to Spielberg classics such as Close Encounters and ET, but it is also itself, as the poster announces, a Steven Spielberg movie: Spielberg produces. So it’s part homage, part franchise operation. Spielberg has, in effect, licensed out his (former) style to Abrams, who in some way is like a lifelong burger fan entrusted with the chief managerial job at America’s biggest branch of McDonald’s.

Everything about the movie has been meticulously created or recreated: the homely suburban setting, whose housing sprawl is set across a valley or plain that can be viewed, all at once, from rising ground. The setting is 1979, a time briskly established by a quick mention of Three Mile Island on the TV news. A group of kids career around keeping secrets from the grownups, although one of them is semi-legally driving them in car: there are no bikes. They have garrulous overlapping conversations in diners, and in open-plan breakfast-bar kitchens at home. A certain alien something is in evidence, creating intense light sources suffusing its witnesses with an unearthly, buttery glow. Its very familiar-looking face is not seen clearly until almost the end, and this visitor is creating a strange termite-mound structure of found objects.

In this setting, a group of teen film-nuts – including Joe (Joel Courtney), Charles (Riley Griffiths) and Alice (Elle Fanning) – are shooting their own zombie horror flick on Super 8, that is, the home movie 8mm format; Charles has the classic home-use cine-camera made by the Austrian company Eumig. They have gone out to a remote stretch of ground near a railway track to shoot a vital scene in which Alice’s character emotionally begs her cop husband to abandon his dangerous zombie hunt. The nerdy boys are awed at how superb Alice’s performance is, and at the greater emotional maturity of girls in general. But just as they are filming, they and their camera witness a terrifying train crash, evidently part of a creepy Area-51-type conspiracy. It is a dangerous secret for them to keep, but Charles is assailed by a brilliant new plan: why not incorporate this priceless footage into their film?

It really is a terrific first act: witty, smart, exciting – and Fanning’s reading of her first scene is great, perhaps the best “rehearsal” scene since Naomi Watts’s audition piece in Mulholland Drive. The growing intimacy between Joe and Alice, which develops from Joe pasting zombie makeup on Alice’s face, has something of the Spielberg-fannishness in Kevin Williamson’s Dawson’s Creek. Later, Charles is to reveal his own feelings for Alice, and his horror at being fat and unattractive is no way allayed by his doctor’s assurances that he will one day “lean out”.

But then what? An obvious direction would be for the reality to be an amplification of what’s happening in the kids’ homespun film. But it’s no spoiler to say that zombies are not wandering across the landscape. So what is? Well, the film ranges far and wide in its search for an urgent plot that could possibly do justice to this bravura opening. It turns out that there is some bad blood between Joe’s dad and Alice’s dad, but this Capulet/Montague idea is neither satisfactorily established nor plausibly resolved. The train carriages, spectacularly flung around in the opening phase, contain weird Rubik-ish boxes, whose vital importance is clear from the military personnel swarming all over the place, gathering them back up, but the secret behind them does not deliver any clear, satisfying storyline punch. The geekery has charm, but is a little self-conscious and just occasionally, this movie resembles an open-ended, rambling drama serial that gets a little, well, lost.

Having said that, the affection and high spirits of Super 8 are infectious. The digital generation of 2011 are teased with the prehistoric conditions that film-makers had to struggle with, back in the day. The stoner guy who works at the camera store says that he can do a “rush” on developing their film: it can be completed in just three days!

Of course we do get to see the kids’ completed homemade movie, and, though it would be a cheap shot to claim that this film is a tighter and clearer piece of work than Super 8 itself, I have to confess, churlishly, to a faint disappointment here. The completed film does not particularly reveal anything that had been mysterious in the preceding action, and it does not mesh in any particularly ingenious way with the real-life adventures we have all just lived through. But it is funny and likable, like everything else Abrams has to show us.

The movie elsewhere suggests the more general experience of families’ home-movie-making. Watch Super 8 home movies and you’ll see mum and the kids, but not dad. Dad is the one doing the filming, the only one allowed to hold the camera. So the father is intensely present and absent at the same time: Abrams hints a little at this more melancholy aspect of Super 8 culture. The rest of the time it’s a boisterous genre piece with some of Spielberg’s tricks but little of his storytelling pizazz and none of his intense heartfelt belief.

Jamie Graham From TotalFilm:

Super 8, the old charmer, returns to such innocent times, assuredly  delivering bang for buck but – first and foremost – respecting old-fashioned  concepts like, y’know, character, emotion, storytelling…

Super  8’s creator is, of course, Jeffrey Jacob Abrams, or plain old JJ to the  millions of people who think of him warmly after Mission: Impossible  III, Star Trek, Cloverfield and Lost.

This is his “personal project”, much as E.T. was Steven Spielberg’s,  who here co-produces.

Set in 1979, when JJ, aged 13, was holed up  in his cluttered bedroom making models to blow up on film, Super 8 tells of  movie-obsessed Charles (Riley Griffiths) and best friend Joe (Joel Courtney),  the leaders of a group of pre-teen kids who run about town shooting a zombie  epic on an Emuig Super 8 camera.

Sneaking from their beds to film a night scene at the local train station,  they continue to roll as a US Air Force freight charges past (“Production  values!”) and crashes explosively.

Then things get really weird.  Generators and car engines burn out, power cables and microwaves disappear. The  town’s dogs hightail it to neighbouring counties.

And the military roll in under the stern command of Colonel Nelec (Noah  Emmerich), a man who dost protest too much when questioned by Deputy Lamb (Kyle  Chandler), AKA Joe’s dad: “If you’re asking me if we had any dangerous property  on board this train,” glowers Nelec, “I can assure you the answer is no.”

If Super 8 is JJ’s own childhood spliced with a  rambunctious monster movie, it is inevitable it should look and feel like an  early Spielberg picture, for Close Encounters Of The Third Kind, E.T.,  Poltergeist, Gremlins, The Goonies and Back To The Future shaped a  generation.

The film’s overrun setting, a small Ohio town, population  11,200, is pure Spielburbia – acknowledged by the E.T.-doffing shot of  the twinkling burg spread out below, a beacon to attract the trouble that’s  arrived in the night.

The kids’ bedrooms, like Elliott’s, are jumbled dens, and the town’s rolling  topography, all slopes and ridges, recalls E.T.’s famous bike chase  while allowing Super 8’s climactic, panoramic action to play out at  various vertical and horizontal depths without recourse to crane shots or focus  pulls.

Like Spielberg, Abrams has an eye for awe, his deft  orchestration of indelible images – a tank trundling through a children’s  playground, a plot-pivotal landmark framed in the distance through a small hole  in a bedroom wall – marking him as a born storyteller.

He’s no slouch when it comes to suspense either, and it’s this skill as much  as the kids’ goofing that marks the film’s first half, when the creature remains  cloaked, as the superior segment.

Standout sequence? A classic bit  of shadow play involving a gas station, a teen attendant listening to Blondie’s ‘Heart Of Glass’ on his Walkman, a cop filling his cruiser to the plaintive  ting-ting-ting of the gas pump, some rustling treetops and, finally, an  out-of-focus attack.

If the monster-reveal to come and the increasingly close-up close-ups that  follow never quite match the early frisson generated by shooting empty spaces  filled with the viewers’ imagination, then it is, perhaps, inevitable.

JJ’s monster is a good ’un, perhaps too good given its 2011 CGI  threatens to jar in a movie that’s not just set in 1979 but could, for the most  part, have been made in 1979.

But it’s no match for the Alien Queen or The Thing. Or, indeed, the amorphous  terrors of Lost and Cloverfield.

The kids, mind, are  faultless. Unlike the silicon-soul LA brats who inhabit most modern movies  (though Elle Fanning, terrific as the cool older girl who Joe and Charles moon  over, is exactly that), this terrific troupe recall not just early Spielberg but ’80s favourites Stand By Me and The Monster Squad.

It’s there in the gap-toothed grins, fleshy frames, oversized spectacles and  bowl haircuts, and it’s there also in the insouciant banter spiked with  colourful lingo (“Holy shit, that’s mint!”; “Dude, that’s bitchin’!”; “This is insane!”).

Maybe the kids feel real because JJ had friends  just like them, or maybe it’s because they’re borrowed from movies where they  felt real the first time round, and are here presented with sincerity.

Whatever the reason, they’re a riot to hang out with, and their heartache – Joe’s mom has just died, all of them are outsiders – feels genuine, though it  never wrenches like Elliott’s absent father or Gordie LaChance’s dead older  brother.

Too much thick-throated emotion is stirred into the  wondrous, mawkish finale.

The blend of sentiment and spectacle here evokes Spielberg at his worst as  well as his best, and the film’s subtext is heavily underlined in case we missed  it.

But even this bum note at the end of a too-frantic third act won’t stop Super 8 from being, hands down, the film of the summer.

Only a young Spielberg at the top of his game could beat it.

Verdict

A monster mash-up of ’50s sci-fi, late-’70s / early ’80s event movie and  autobiography, Super 8 doesn’t possess the top-to-bottom greatness of  the films it’s modelled on but, in shooting for the stars, leaves 90% of modern  blockbusters in the gutter. Mint.

Eric Ditzian  From MTV:

From the Spielbergian nostalgia factor to the first-rate performances of a group of largely unknown young actors to the ultra-satisfying reveal of the monster, we’ve got plenty of reasons you should check out “Super 8″this weekend.

But we’re not alone in our full-throated support of director J.J. Abrams’ ode to ’70s-era adolescence and alien invasion flicks. Based on a wholly original idea (a true rarity in an era of iconic superheroes, wizards and alien bots) and with no A-list talent in front of the camera, “Super 8″ has nonetheless been nabbing overwhelmingly positive reviews and is expected to earn around $35 million over the weekend.

While some critics have suggested the film’s ultimate mystery remains disappointing when finally revealed, far more have been raving about the flick’s throwback vibe, efficient storytelling, and satisfying emotional and cinematic similarity to movies like “Close Encounters of the Third Kind.” Read on for a deep dive into “Super 8″ reviews.

The Story
” “Super 8″ centers on Joe (Joel Courtney), a middle-schooler who has lost his mom and is spending his summer helping his chum Charles (Riley Griffiths) make a zombie movie. Shooting surreptitiously one night at a train station, the kids witness a horrific accident that opens a mystery involving a science teacher, an Air Force investigation, Joe’s policeman dad (Kyle Chandler) and … something out there in the night. There are harum-scarum jokes aplenty, lots of Spielbergian camera work, a cute girl to woo (Elle Fanning), and some broken psyches in need of repair. Is it as powerful as “Close Encounters of the Third Kind” or “E. T.”? Not quite, no. But it’s spirited and funny and deeply entertaining, a summer movie for kids who think like adults and adults who feel like kids.” — Shawn Levy, The Oregonian

The Performances
“The pacing is superb, quick and agile without being frenzied, and the special effects are jaw-dropping. Abrams gets excellent performances from his young cast, not only from his leads — Elle Fanning, as the pretty girl from the wrong side of the tracks, and Joel Courtney, as a sensitive boy who has lost his mother — but from the supporting players. For example, Riley Griffiths tears ferociously into the role of the boy director, as a kind of eighth-grade Orson Welles. There are also two wounded fathers, well played: Kyle Chandler plays the town’s deputy for all he’s worth, and Ron Eldard, looking like a slimmed-down Gerard Depardieu, plays Fanning’s confused father.” — Mick LaSalle, San Francisco Chronicle

The Comparisons
“There’s a thin line, though, between honoring what came before you and replicating it, and ‘Super 8′ occasionally wobbles over that line into predictability. Nor is Abrams quite sure what to make of his monster. Is it friend or foe? Can a movie split the difference and still hold on to our sympathies? Toward the end, you feel the filmmaking cutting corners, rushing past story points and shortchanging characters to get to the finale, which itself lacks the pop immensity of a movie like ‘Close Encounters’ even as it imitates it. ‘Super 8′ is a curious thing indeed: A good movie that makes you want to go home and re-watch a great one.” — Ty Burr, Boston Globe

The Mystery
“Just what and who the monster is, forms the central question of ‘Super 8.’ But despite Abrams’ best efforts to ratchet up the tension, the mystery never takes compelling hold, a weakness that becomes especially clear in the movie’s anti-climax of an ending. At that point, the already thin story gets wrapped up so neatly that viewers will scarcely have time to process its plot holes. (What were those little white boxes for, anyway?)” — Ann Hornaday, The Washington Post

The Final Word
“How have we survived for so long on such a meager, high-cal, low-nutrition diet of processed summertime superhero sequels? ‘Super 8′ is an antidote to that emotional-vitamin deficiency. It’s also a great specimen of original storytelling grounded in a sophisticated respect for storytellers who have come before. Writer/director J.J. Abrams has described his movie as a love letter to the kind of Super 8 monsters-and-chases stuff he made as a boy, which were influenced by the ‘Raiders’/ ‘Close Encounters’ sagas of Steven Spielberg, who himself made 8mm monsters-and-chases stuff as a boy. (Spielberg is a ‘Super 8 producer.’) The loop works beautifully.” — Lisa Schwarzbaum, Entertainment Weekly

Zedbazi’s new single “Taze Shurue Zendegimoone” is now available for download on iTunes, to download please click here.

check out The Official Page Of ZedBazi http://www.zedbaziband.com/zedbazi-official-news/103-new-track-qtaze-shuru-e-zendegimooneq.html

2010:
-    Featured on the cover of Velvet, photographed by Enrique Badulescu
-   Leaves Next Models and signs with New York Models
-   Walks the spring Vena Cava, Nicole Miller, and Charlotte Ronson shows in New York
-   Appears in French L’Officiel editorial, photographed by Xevi Muntane

He was recently(2010) published his album “Doo-Wops & Hooligans” and more recently going to publish one by one videos of this awesome Music-Album and he made himself famouse little soon.

You can read this Bio by his official Web:

It’s better if you don’t understand; just listen and have a good time.That’s the response Bruno Mars will give you with a smile when asked to  describe his sound and music.  He would much rather sing, perform, and write his songs than talk about them, but that is becoming more and more unavoidable these days.  It might seem that Mars appeared out of nowhere, co-writing, producing and performing on B.o.B’s #1 “Nothin’ On You” followed by Travie McCoy’s chart-climbing “Billionaire”, but he makes one thing clear:  “It’s not an overnight success”.

Mars is a multitalented singer, songwriter, producer and musician who feels most at home when he’s performing. Born to a musical family in Honolulu, Hawaii, he was practically raised on the stage. His father, a Latin percussionist from Brooklyn, organized a Vegas-style revue that featured the entire family, including his mother, a talented vocalist. When a four-year-old Mars observed his family performing Motown hits, doo-wop medleys and impersonations for enthusiastic crowds all over his native Waikiki Beach, “I was jealous!” says Mars with a laugh. “My dad put me on stage and I remember singing an Elvis song and that was it. Ever since that moment, I’ve been addicted.”

Rich in diverse music from all over the globe, Honolulu was an exciting  hometown for the budding singer/songwriter. On one end of the spectrum, his home was filled with the 1950s classics that were his father’s passion. Meanwhile, the city is rich in traditional sounds, including  reggae, rock and folk music, as well as the latest pop hits. “Hawaii is basically in the middle of the world, so you’re exposed to every type of  music over there,” explains Mars.

As soon as he graduated high school, Mars left Hawaii for Los Angeles with dreams of launching his career as a performer. Those dreams got put on hold, however, when The Smeezingtons, the songwriting/production team he founded with Philip Lawrence and Ari Levine, suddenly took off. The pair has crafted major hits for a diverse roster of talent, including Flo Rida’s “Right Round”, Travie McCoy’s “Billionaire”, Brandy’s “Long Distance” and K’Naan’s “Waving Flags”, which is the theme song for the 2010 World Cup.

Mars describes his time behind the scenes as important to his development as an artist. “I realized that you have to go into this  industry as an artist with a clear vision and understanding of who you are. Being so young when I was first signed, I never really had a sense of who I wanted to be. Now things are really working out because everything that I’m singing, writing and composing is really me.”

On the heels of “Nothin’ on You” and “Billionaire” and as a preview of what’s to come from Bruno Mars, Elektra Records is releasing a 4-song EP aptly titled “It’s Better If You Don’t Understand”.  The title is taken from a lyric to “The Other Side”; one of the songs included that features Cee-Lo Green and re-teams Mars with B.o.B.  The song depicts the musician’s current routine.  “It’s basically a story of the lifestyle you end up living as an artist and how I would describe it to a girl I just met to try and explain, but in the end…  It’s better if you  don’t understand.”

When asked to describe the music he’s about to release Mars says “it’s hard to put myself in a box. I just write songs that I strongly believe  in and that are coming from inside. There’s no tricks. It’s honesty with big melodies. And I’m going to be singing the s— out of them.”  The collection of songs on the EP are written from various real-life experiences, where Mars blends his buoyant voice with purposefully simple production.  All of the songs are produced and written with his Smeezingtons partner Philip Lawrence.

Although he’s incredibly proud of the recordings, Mars feels the best way to experience the sound is to see him perform live with his band. “That is what I’m most excited for – taking these songs and traveling them around the world.”  The only place he would rather be than in the recording studio, is with his band on stage – where he grew up.  “I think people are really going to gravitate towards the live show.  We turn it into a party.”