13 Sins (2014)

"13 grehova" je imao sve preduslove da postane uspešni horor serijal poput "Saw". Pre svega, dovoljno malo košta a tema mu je idealna za raznovrsna mučenja i grozomorna ubistva svojih likova.

Premisa je ova: 

Običan čovek, doduše u priličnim finansijskim problemima, dobija telefonski poziv sa ponudom koju je, na prvi pogled, veoma teško odbiti. Naime, ako odradi 13 zadataka, dobiće brdo para. A prvi zadatak je veoma jednostavan. Potrebno je da ubije iritantnu muvu koja mu zuji oko glave dok traje taj misteriozni poziv. Sa svakim odrađenim “izazovom” na račun mu leže određena suma novca.


Režija:Daniel Stamm

Glume: Mark Webber

                Pruitt Taylor Vince

                 Ron Perlman 


Budžet “13 sins” je bio skromnih (za USA) 4 miliona dolara. Za takvu, relativno malu sumu, ovo izgleda sasvim solidno…Ima tu i raznih eksterijera i enterijera, puno statista i epizodnih glumaca i film deluje raskošnije i bogatije nego što bi mogli pretpostaviti na osnovu informacije o količini novčanih sredstava koja su im bila na raspolaganju.

 Upravo ta dinamika promene raznovrsnih lokacija doprinosi da se “13 sins” “lako” gleda to jest da nije dosadan. A  to je već kvalitet dovoljan da dobije bar jedan plus na svoju ocenu.

Drug plus mu dajem zbog scene pevanja Internacionale.

Vratimo se na sam početak ovog teksta. Kao što rekoh “13 sins” je imao preduslove za uspeh ali, ne da nije uspeo, nego praktično nije mu ni pružena prilika da se okuša u bioskopima, Ekspresno je odaslat na VOD(Video On Demand).

 Da li je to zbog toga što od nas, gledalaca, zahteva popriličan “leap of faith” negde već od trećeg izazova te našeg junaka, nadalje, nakon toga možemo samo da žalimo (već nas nervira od početka) ? Negde u tom trenutku shvatio sam da više ne gledam film o čoveku suočenim sa teškim moralnim dilemama i da to autore filma uopšte ne interesuje. Ono što sledi postaje zanimljivo samo na nivou pogađanja koji bi sve to morbidni zadaci mogli pasti na pamet scenaristima…naravno, pre svega ovoga nešto drugo mora da je palo na njihovu pamet a bome i glavu. (btw. ne mislim na to što je ovo rimejk nekakvog tajlandskog filma).

 Zatim, “13 sins” pati od prilično naivnih rešenja koji više ne bih mogao nazvati ni klišejima. Koincidencije koje (pre)stižu koincidencije postaju monotone i siguran sam da će te pre samog kraja zevnuti i više od 13 puta.

 Mada, i mnogo veće gluposti iz horor žanra su uzeli gomilu para na američkim blagajnama. Zašto onda to nije učinio i ovaj film ?

Razloge, kako je i zbog čega, “13 sins” doživeo ovu sudbinu možete delimično otkriti i u datom intervju dole, nakon recenzije. 

Dakle nema nekih većih razloga za gledanje ovog projekta. Dva poznata glumca koje bi ste morali  prepoznati ako ste bar mali filmofil, nedovoljno su iskorišćena i čini mi se da služe samo kao jedan (nebitan) dodatak na priču koja je komotno mogla i bez njih da prođe.

Na skali od (1-6) ocena: 2+*

recenzija: Gimitrije Verzićduh sa dva plava oka 


ovde sledi odlomak iz interesantnog intervjua sa režiserom Stammom (kompletan možete pročitati ovde) koji otkriva puno toga o stanju aktuelne holivudske produkcije


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Daniel – Our production company and the financiers made their money back before the movie was even made, by selling the international rights to it. Places like Japan and Germany come up with prices and pay it, and then it’s up to them if they release it in theaters or not, but the people who put up the money here lose nothing. As a filmmaker though, it still hurts to go from a movie that had a theatrical release in America, made a lot of money, and then have the next basically go straight to VOD (Video On Demand) where nobody has heard of it. 

Boaz – Why would they do this though? It just doesn’t make sense to me that you’d have your previous movie The Last Exorcism do so well, so why put nothing into this one?

Daniel – I really don’t know, these days it is becoming more and more common for studios to make movies that are either huge budget tent-poles like Iron Man and Captain they put hundreds of millions of dollars into making and promoting them, whereas more and more of the movies that cost a few million like ours aren’t worth the time or risk to promote, so they just put them out on VOD. We’re actually lucky, I was shocked when I saw we were released on 45 screens, many are on 2 or 3, and I personally didn’t see a single poster or ad for it, so I don’t think they put any money into marketing it. It was all about VOD. As I said, they already made their money on foreign presales, anything else from iTunes and (Time Warner Cable) On Demand is a bonus.

Boaz – I just don’t get it, it’s not as if you have a spotty track record, you made one movie in film school which did amazingly well in film festivals (A Necessary Death), you then were paid to make your first movie (The Last Exorcism) and made it for how much money?

Daniel – 1.5 million dollars.

Boaz – And it made how much money?

Daniel – Almost 70 million dollars.

Boaz – Right! It made over 20 million dollars OPENING WEEKEND, how do they go from that to hiring you to make something that doesn’t get a single billboard or commercial or any marketing, and has the intent of being seen on VOD only? It seems ludicrous. Do legitimate filmmakers have absolutely no safety when they sign a contract that it will actually go to theaters? Can’t you sign a contract that ensures it will get a full theatrical release?

Daniel – You could do that, sure, but it usually won’t make a difference. There are huge producers who commonly pay for movies which are “supposed” to go to theaters, but then they go VOD. If the filmmaker threatens lawsuit, then they usually lose. And even if those power-house producers lose, the amount they have to pay in penalties for breaching the contract is nothing compared to the amount of money they’d have to pay to promote and release a movie in theaters, so they accept that as a part of the business.

Boaz – This happens to people I’ve heard of?

Daniel – Absolutely, you’d be shocked how many never see the light of day; good movies that for one reason or another they decided to not release. I’ve heard that (NAME EDITED OUT TO PROTECT DANIEL’S CAREER) for example makes about 10 movies a year from successful writers and directors, but only releases a few. Some don’t even end up as VOD, they just collect dust on his shelf, so-to-speak. I don’t know why, but that’s what he does. I assume he releases less because it may maintain the success of the brand. But why make all of the extras in the first place? I honestly don’t know.

Boaz – How does the marketing work with VOD in the first place? Your movie was released in theaters last week briefly and immediately can be found on iTunes and VOD, does that mean they’re spending money to market it online for streaming at least?

Daniel – I don’t think so. They seem to just put it out there, and if enough people start to watch it, then they’ll start to put some money into marketing it. The idea of VOD seems to be that they just make the movies, throw it out there, and if people don’t see it, then they don’t put any money into marketing it. That’s how it works now.

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About Gimitrije Verzić 124 Articles
Čuveni duh sa plavim okom (a od susreta sa Bozzom postao je duh sa dva plava oka), propali kandidat za kandidata studenta filmske režije i beskompromisni (takođe propali) filmski kritičar koga ste svi imali priliku da upoznate u prelomnoj, epoholno dvodelnoj epizodi "Bioskop Sloboda" Svojim autorskim tekstovima o filmu on će definitivno oplemeniti ovaj prostor. Takođe, Gimitrije fanatično gleda televiziju pa možemo očekivati i njegove tekstove na tu temu

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