SD Dojavi
OSMRTNICE
PRETPLATA
PREMIUM
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Pretrpanost filmskog tržišta akcijskim trilerima o ženama-atentatoricama moglo bi se obiti o glavu Netflixovoj "Kate", premijerno puštenoj proteklog vikenda na popularni streaming servis. Jer, "Kate" je četvrti uzastopni takav akcić u nepuna dva mjeseca nakon "Gunpowder Milkshake", "Jolt" i "The Protege", a treći unatrag godinu i nešto dana koji u naslovu ponosno nosi ime junakinje poslije "Anne" i "Ave".

U prilog filmu Cedrica Nicolas-Troyana ("Lovac i ledena kraljica") ne ide ni generičnost, svojstvena mnogim Netflixovim instant-proizvodima, odnosno višak rutinskog i fotokopijskog, a manjak originalnog u priči o još jednoj ženskoj plaćenoj ubojici.

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FILM: Kate. akcijski triler; SAD, 2021. REŽIJA: Cedric Nicolas-Troyan ULOGE: Mary Elizabeth Winstead, Woody Harrelson OCJENA: ***

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Titularna heroina (Mary Elizabeth Winstead) trenirana je za atentatoricu od malih nogu (kao klinku i tinejdžericu glume je Gemma Brooke Allen i Amelia Crouch), a njezin mentor Varrick ujedno obnaša i ulogu očinske figure (autopilotski Woody Harrleson).

Jedan flešbek prikazuje kako je Varrick poslao Kate na prvi zadatak s pištoljem bez metaka, kao nekoć mentor Nikitu, majku ovakvog tipa filma. Kad Kate odluči napustiti plaćenoubojički svijet nakon posljednjeg posla, doznat će da je otrovana radioaktivnom supstancijom i da joj ostaje "24 hours to live", kao Ethanu Hawkeu u njegovom identično naslovljenom odgovoru na "Crank".

Da ne poklekne, Kate će povremeno injektirati adrenalin i kupovati svaki od preostala 24 sata života, baš poput "ubrzanju" sklona Jasona Stathama. I Kate će, kao i Stathamova Cheva Cheliosa, usporediti s "Terminatorom" uz dodatak "bitch", mada je prikladnija usporedba s "Komandosom" uzimajući i obzir "killing machine"/"body count" akciju i junakinjino spašavanje otete tinejdžerke Ani (Miku Patricia Martineau).

Odnos Kate i Ani veoma je sličan odnosu atentatorice i klinke u nedavnom "Metku i milkshakeu", samo malo kompleksniji budući da je plaćena ubojica, na početku filma u Osaki, likvidirala tinejdžerkina oca "yakuzu" pred njezinim očima i to je proganja. Ukratko, scenarij Umaira Aleema, autora još uvijek najboljeg Netflixovog akcijskog filma "Extraction", prepun je žanrovskih tropa i općih mjesta.

Međutim, inscenacija akcije, vizualni stil i propisno uživljena Winstead spašavaju "Kate" od momentalnog zaborava, daju filmu mrvu vlastita identiteta i čine ga gledljivim, pa i uzbudljivim, barem u razini friške "Plaćenice", "Gunpowder Milkshake" i "Anne" s kojima se može gledati maratonski, ako ne teško dostižne "Atomic Blonde" i "Johna Wicka".

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Winstead je glumila kćerku Brucea Willisa u "Umri muški 4" (i "5"), a kalila se u "Scottu Pilgrimu", prednastavku "Stvora" ili hitu "10 Cloverfield Lane" i bilo je pitanje vremena kad će dobiti samostalni akcijski film, što je jamačno ubrzala njezina uloga The Huntress u "Birds Of Prey".

Glumica daje sve od sebe maksimalno posvećena ulozi i odradila je veći dio akcije sama. A akcija je stilizirana u bojama "Atomske plavuše" i reflektiranim u neonima sinematična Tokija kao osvježavajuće lokacije za jedan akcijski, ne egzistencijalni romantični film poput "Izgubljenih u prijevodu".

Tokio današnjice, još više u odnosu na Osaku iz "Crne kiše", izgleda kao SF-ovski Los Angeles budućnosti "Istrebljivača" i njegova nastavka "Blade Runner 2049", te "Duha u oklopu". Stilizacija je na mahove u ravni "Sin Cityja" (par odličnih stripovskih kadrova na krovovima tokijskih nebodera), čak i videogejmerska (očita digitalija u auto-jurnjavi gradom), a fino je kontrapunktirana akcijskom "realizmu" filma, režiranog u dužim, neprekinutim kadrovima da gledatelj vidi što se događa.

Naracija je tipizirana, emocije svedene na scenu kad Kate govori Ani da bude dijete što ona nije uspjela biti, ali akcija je tehnički i koreografski uglavnom maštovita u brutalnosti, premda na jedan metak od toga da postane monotona.

Ako Kate nema razvijenu karakterizaciju, radioaktivna supstancija u njoj priječi je da bude tipični stroj za ubijanje i čini ranjivom heroinom (fizički se polako raspada i ispadaju joj zubi gotovo kao da glumi u "body horror" klasiku "Muha"). Kate "umire ženski" izubijana u prijevodu krvavih i bolnih akcijskih sekvencija.

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Producent ‘Kate‘ je redatelj ‘Atomske plavuše‘

Jedan od producenata "Kate" je redatelj "Atomske plavuše" David Leitch, a u važnoj ulozi gledamo japanskog glumca Juna Kunimuru ("The Wailing").

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Pretrpanost filmskog tržišta akcijskim trilerima o ženama-atentatoricama moglo bi se obiti o glavu Netflixovoj "Kate", premijerno puštenoj proteklog vikenda na popularni streaming servis. Jer, "Kate" je četvrti uzastopni takav akcić u nepuna dva mjeseca nakon "Gunpowder Milkshake", "Jolt" i "The Protege", a treći unatrag godinu i nešto dana koji u naslovu ponosno nosi ime junakinje poslije "Anne" i "Ave".

U prilog filmu Cedrica Nicolas-Troyana ("Lovac i ledena kraljica") ne ide ni generičnost, svojstvena mnogim Netflixovim instant-proizvodima, odnosno višak rutinskog i fotokopijskog, a manjak originalnog u priči o još jednoj ženskoj plaćenoj ubojici.

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FILM: Kate. akcijski triler; SAD, 2021. REŽIJA: Cedric Nicolas-Troyan ULOGE: Mary Elizabeth Winstead, Woody Harrelson OCJENA: ***

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Titularna heroina (Mary Elizabeth Winstead) trenirana je za atentatoricu od malih nogu (kao klinku i tinejdžericu glume je Gemma Brooke Allen i Amelia Crouch), a njezin mentor Varrick ujedno obnaša i ulogu očinske figure (autopilotski Woody Harrleson).

Jedan flešbek prikazuje kako je Varrick poslao Kate na prvi zadatak s pištoljem bez metaka, kao nekoć mentor Nikitu, majku ovakvog tipa filma. Kad Kate odluči napustiti plaćenoubojički svijet nakon posljednjeg posla, doznat će da je otrovana radioaktivnom supstancijom i da joj ostaje "24 hours to live", kao Ethanu Hawkeu u njegovom identično naslovljenom odgovoru na "Crank".

Da ne poklekne, Kate će povremeno injektirati adrenalin i kupovati svaki od preostala 24 sata života, baš poput "ubrzanju" sklona Jasona Stathama. I Kate će, kao i Stathamova Cheva Cheliosa, usporediti s "Terminatorom" uz dodatak "bitch", mada je prikladnija usporedba s "Komandosom" uzimajući i obzir "killing machine"/"body count" akciju i junakinjino spašavanje otete tinejdžerke Ani (Miku Patricia Martineau).

Odnos Kate i Ani veoma je sličan odnosu atentatorice i klinke u nedavnom "Metku i milkshakeu", samo malo kompleksniji budući da je plaćena ubojica, na početku filma u Osaki, likvidirala tinejdžerkina oca "yakuzu" pred njezinim očima i to je proganja. Ukratko, scenarij Umaira Aleema, autora još uvijek najboljeg Netflixovog akcijskog filma "Extraction", prepun je žanrovskih tropa i općih mjesta.

Međutim, inscenacija akcije, vizualni stil i propisno uživljena Winstead spašavaju "Kate" od momentalnog zaborava, daju filmu mrvu vlastita identiteta i čine ga gledljivim, pa i uzbudljivim, barem u razini friške "Plaćenice", "Gunpowder Milkshake" i "Anne" s kojima se može gledati maratonski, ako ne teško dostižne "Atomic Blonde" i "Johna Wicka".

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Winstead je glumila kćerku Brucea Willisa u "Umri muški 4" (i "5"), a kalila se u "Scottu Pilgrimu", prednastavku "Stvora" ili hitu "10 Cloverfield Lane" i bilo je pitanje vremena kad će dobiti samostalni akcijski film, što je jamačno ubrzala njezina uloga The Huntress u "Birds Of Prey".

Glumica daje sve od sebe maksimalno posvećena ulozi i odradila je veći dio akcije sama. A akcija je stilizirana u bojama "Atomske plavuše" i reflektiranim u neonima sinematična Tokija kao osvježavajuće lokacije za jedan akcijski, ne egzistencijalni romantični film poput "Izgubljenih u prijevodu".

Tokio današnjice, još više u odnosu na Osaku iz "Crne kiše", izgleda kao SF-ovski Los Angeles budućnosti "Istrebljivača" i njegova nastavka "Blade Runner 2049", te "Duha u oklopu". Stilizacija je na mahove u ravni "Sin Cityja" (par odličnih stripovskih kadrova na krovovima tokijskih nebodera), čak i videogejmerska (očita digitalija u auto-jurnjavi gradom), a fino je kontrapunktirana akcijskom "realizmu" filma, režiranog u dužim, neprekinutim kadrovima da gledatelj vidi što se događa.

Naracija je tipizirana, emocije svedene na scenu kad Kate govori Ani da bude dijete što ona nije uspjela biti, ali akcija je tehnički i koreografski uglavnom maštovita u brutalnosti, premda na jedan metak od toga da postane monotona.

Ako Kate nema razvijenu karakterizaciju, radioaktivna supstancija u njoj priječi je da bude tipični stroj za ubijanje i čini ranjivom heroinom (fizički se polako raspada i ispadaju joj zubi gotovo kao da glumi u "body horror" klasiku "Muha"). Kate "umire ženski" izubijana u prijevodu krvavih i bolnih akcijskih sekvencija.

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Producent ‘Kate‘ je redatelj ‘Atomske plavuše‘

Jedan od producenata "Kate" je redatelj "Atomske plavuše" David Leitch, a u važnoj ulozi gledamo japanskog glumca Juna Kunimuru ("The Wailing").

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

‘Kate‘: Izubijani u prijevodu

Piše Marko Njegić
17. rujna 2021. - 18:30
19301988
PREMIUM
Galerija

Pretrpanost filmskog tržišta akcijskim trilerima o ženama-atentatoricama moglo bi se obiti o glavu Netflixovoj "Kate", premijerno puštenoj proteklog vikenda na popularni streaming servis. Jer, "Kate" je četvrti uzastopni takav akcić u nepuna dva mjeseca nakon "Gunpowder Milkshake", "Jolt" i "The Protege", a treći unatrag godinu i nešto dana koji u naslovu ponosno nosi ime junakinje poslije "Anne" i "Ave".

U prilog filmu Cedrica Nicolas-Troyana ("Lovac i ledena kraljica") ne ide ni generičnost, svojstvena mnogim Netflixovim instant-proizvodima, odnosno višak rutinskog i fotokopijskog, a manjak originalnog u priči o još jednoj ženskoj plaćenoj ubojici.

Titularna heroina (Mary Elizabeth Winstead) trenirana je za atentatoricu od malih nogu (kao klinku i tinejdžericu glume je...

#CINEMARK#CINEMARK U KUĆNOM KINU#NETFLIX FILMOVI#AKCIJSKIFILMOVI#AKCIJSKE HEROINE#MARY ELIZABETH WINSTEAD#WOODY HARRELSON
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