Player2

Ha a jó akciófilmek és vígjátékok olyanok, mintha az izgalom/öröm képzeletbeli villamosszékére ültetnék a nézőt és a rendező fel-le tekergetné az áramot, akkor

Hibás marketing, akciófilmnek történő beállítás mind a trailerrel, mind a borítóval.

Az utazásra kellett volna fókuszálni és akkor nem vonzották volna be azokat, akik csalódtak.

Nem moziba való, inkább otthonra, egyedül.

Végig tele van energiával-

nem az a fajta, aminek az erényeiről meg tudnám győzni a barátaimat, ezt vagy szereted vagy nem.

földhözragadt (mundane), kiszámítható, önismétlő, de mindenek előtt könnyen emészthető

clash of titans röhej

nem az mtv popcornon felnőtt, lassabb filmeket élvezni nem képeseknek való

TERRENCE MALICK FILMJEIHEZ HASONLÍTHATÓ

Death Frenzy japán rajzfilm??

Do you like tarkovsky

Odin emberi formában való megjelenése one eye a befejezés ascension

gondolkodtat, foglalkoztat utólag

személyenként másképp értelmezhető

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There's some very interesting similarities in this film to the beliefs expressed by the secret Pagan society, the Brotherhood of Odin:

http://www.scribd.com/doc/1258131/The-Odin-Brotherhood-A-NonFiction-Account-of-Contact-with-a-Pagan-Secret-Society

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THE ODIN BROTHERHOOD: Almost never. In the words of the legends, "the dead can hear but are mute."
AUTHOR: And why are the dead mute?
THE ODIN BROTHERHOOD: Because communicating across the barrier is easier for the living than for the dead.

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Also, Odin's son Vidar (The Silent) was a mute and a god of vengeance if anything can be tied in with that that. But back to Odin himself:

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AUTHOR: And what makes an Odinist special?
THE ODIN BROTHERHOOD: An Odinist is a complete man of action. As a member of the invisible army of the gods, he is direct, uncomplicated, and strong.
AUTHOR: Strength seems very important to Odinists.
THE ODIN BROTHERHOOD: Odinism is a Creed of Iron.
AUTHOR: And why is strength so important?
THE ODIN BROTHERHOOD: Because when the gods made man, they made a weapon.
AUTHOR: What kind of weapon?
THE ODIN BROTHERHOOD: One that is hard, and yet supple, dangerous, and yet suave.
AUTHOR: Was not man made from soft clay?
THE ODIN BROTHERHOOD: No. Man was not made from the filth of the earth (as the monotheists claim), and man was not made from carbon, oxygen, and slime (as the materialists claim).
AUTHOR: Then from what substances was man made?
THE ODIN BROTHERHOOD: According to the legends, the gods cut the first man and the first woman from splendid trees. That is the origin of our strength.
AUTHOR: Tell me, what is strength?
THE ODIN BROTHERHOOD: In poetic terms, strength is that which exalts the natural majesty of man.
AUTHOR: And in concrete terms?
THE ODIN BROTHERHOOD: Strength is that which promotes thought and daring.
AUTHOR: And why is strength so important?
THE ODIN BROTHERHOOD: Because it is only by becoming stronger that a man can realize his divinity.
AUTHOR: In other words, through strength a man can become godlike?
THE ODIN BROTHERHOOD: Yes. And a godlike man--a man who is pure force, inaccessible to any compromise--is called a hero.

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THE ODIN BROTHERHOOD: Without the gods, a soul wanders but is not free.

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AUTHOR: When he calls upon his gods, does the Odinist ask for divine guidance?
THE ODIN BROTHERHOOD: Never. A man who follows a leader is a man who thinks by proxy.
AUTHOR: In his sacred communications, does an Odinist ever ask for divine assistance?
THE ODIN BROTHERHOOD: No Odinist ever asks for help. Self-reliant, he would rather steal than accept charity.
AUTHOR: When he calls upon his gods, does an Odinist ever confess his sins in a spirit of contrition?
THE ODIN BROTHERHOOD: No. Contrition--a totem of decadence--is alien to Odinism.
AUTHOR: Why do Odinists scorn repentance?
THE ODIN BROTHERHOOD: Because repentance is an act of cowardice. Remember, only the terrorized repent.
AUTHOR: But what if a man has dishonored himself?
THE ODIN BROTHERHOOD: With fortitude, the hero accepts the consequences of his shameful action. With invincible strength, he resolves not to repeat the error.

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AUTHOR: Destiny? In Odinist terms, what is destiny?
THE ODIN BROTHERHOOD: The Fates, the Moirai, the Parcae, the Norns--destiny is an enigma with many names.
AUTHOR: But what is it?
THE ODIN BROTHERHOOD: Destiny is a force implicit in nature. Personified by three mysterious females called Urd ("That-Which-Has-Become"), Verdandi ("That-Which-Is-Still-Becoming"), and Skuld ("That-Which-Is-Owed"), destiny is the indifferent, irrational, and irrevocable power that weaves and shapes all realities.
AUTHOR: Even the reality of the gods?
THE ODIN BROTHERHOOD: Even the gods are not above the blameless inevitability that wise men call destiny.
AUTHOR: And how do you know that?
THE ODIN BROTHERHOOD: Because the past, the present, and the future occur without their consent.
AUTHOR: So in all realities, no one is truly free?
THE ODIN BROTHERHOOD: All rational beings--from the lowest man to the highest god--possess the liberty that is important.
AUTHOR: And what liberty is that?
THE ODIN BROTHERHOOD: We cannot choose the joys or the terrors we must face, but we can choose to face them calmly. That is our freedom.

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And quite interestingly:

http://www.scribd.com/doc/6437181/Odin-Brotherhood-Radio-Interview

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Professor Mirabello, you describe the Odin Brotherhood as a secret society for “higher men and women” who value “knowledge, freedom, and power.”

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On the official site, Refn has named One-Eye as 'Harald'. Old Norse names for Odin include Hárr (high), Aldaföðr (father of men) and Aldagautr (Gautr of men) - effectively making his name Harald a conjunction of "high - men" or perhaps "higher man".

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Kenneth Anger Scorpio Rising, Lucifer Rising (barátok, rajongója Angernek)

a great film to just look at and experience.

INTERJÚ

http://www.bbc.co.uk/filmnetwork/features/valhalla_rising_interview

TRAILER NEW

http://twitchfilm.net/site/view/ladies-and-gentlemen-the-vikings-have-arrived.-the-valhalla-rising-trailer-/

Olyan film, hogy ha játék lenne, ez lenne a teljes interaktivitás.

	article March 3, 2010 Valhalla Rising A different kind of Viking film Nicolas Winding Refn’s Valhalla Rising tells a mythical story of a mute warrior and his instinctive search for spiritual home, wherever that may be by Vladan Petkovic Nicolas Winding Refn, a maverick of sorts among Danish directors, acquired a cult following with the highly violent, urban Pusher trilogy. The long-awaited Viking epic Valhalla Rising took a long time to gather funds and start filming, so in the meantime he made the much-lauded Bronson, a stylized biopic of Britain’s most famous criminal. Although Valhalla Rising was shot in Scotland, it gives no specific time or place for the story. However, it’s obviously the early Middle Ages, somewhere in northern Europe. One Eye (Mads Mikkelsen), a mute warrior of amazing strength and skill, is held captive by a tribal band that uses him as a fighting machine. When he’s not fighting, he is held in a cage and fed by a boy (Maarten Stevenson) who will turn out to be his voice. (The article continues below - Commercial information) After being sold to another tribal lord, he quickly escapes and soon meets a band of Christian Vikings on their way to liberate Jerusalem. One Eye joins them for apparently unclear reasons and they quickly realise they can use such a warrior. They travel by boat into a fog that takes them to North America, as presented by details such as Native American feathers and burial grounds. Once there, primordial nature takes over and the band is killed one by one – except for One Eye and the boy, who survive – by an unseen enemy. Valhalla Rising is divided into five chapters and the first half shows bone-crunching, blood-drenched violence in the mud of the Scottish highlands. This is vintage Refn, and fans of epic fantasies and sword and axe battles will be delighted. Some of the fight scenes are exquisitely innovative and thrilling, a quality in short supply these days. One Eye’s empty socket and scarred and tattooed body are chilling and present a character apparently void of anything but the capability for devastating bodily harm. The Vikings are led by a zealot priest whose only interest is spreading Christianity by any means necessary. However, once they enter the fog it becomes clear that One Eye is more than he appears to be. We see his visions, often coloured blood red, but they don’t show us anything concrete. Is he the Devil? Is he a spirit? Some may even claim he is an embodiment of a god. The boy says, "He comes from Hell in the north". When they arrive in North America, the real reasons for the others’ travels become clearer, but One Eye still remains a mystery. As does his relationship to the boy, who is obviously much more than a means of communication with the cryptic warrior. Who chose whom here? Did One Eye need the boy to display his emotions and ideas, as Mikkelsen plays with a straight, frowned, unemotional face to the very end of the film? Is the boy perhaps the one running the show and needed a weapon to achieve whichever purpose he might have had? In any case, their actions lead us to conclude that by arriving at his final destination, One Eye has returned to wherever he comes from – spiritually, not geographically. The film offers no easy answers, and obviously never intended to. Refn turns to a new territory here, with a fantastically cinematic use of the Scottish hills as a background that can represent both a geographical region of northern Europe and mythical Nordic landscapes. Droning heavy metal music and colour filters show Refn’s developing affinity for combining art and violence, also prominent in Bronson. This is a mix of fantasy, mythology, spirituality and physical power that many will not find easy to watch, but will definitely be challenged to think about. AKARSZ KEZDENI VALAMIT AZ ÉLETEDDEL?