Wahhh...laskar pelangi pun di remake? sekolah rendah agama islam di pulau Belitung akan jadi sekolah ...
cmf_GAIA Post at 20-1-2012 04:02
bisa saja bukan di remake tapi di buat ulang tapi menggunakan bahasa inggris...
here is the news
Laskar Pelangi Melesat ke Hollywood
Gaung Laskar Pelangi (LP) seakan tak ada matinya. Setelah kesuksesan besar diraih di Tanah Air, kini saatnya LP merintis sukses yang setidaknya sama di AS.
Langkah pertama telah dilakukan dengan diluncurkannya novel LP versi Inggris, dengan judul The Rainbow Troops, pada pertengahan Desember 2011 ini. Tak tanggung-tanggung, penerbit edisi internasional LP adalah Farrar, Straus and Giroux (penerbit terbaik di Amerika Serikat saat ini). The Rainbow Troops ini diterjemahkan oleh Angie Kilbane, seorang guru ekspatriat di Lazuardi Global Islamic School yang sempat belajar bahasa Indonesia selama dua tahun di Ohio University dan tinggal setahun di Singosari.
Tak hanya itu, langkah berikutnya yang berprospek besar bakal terwujud adalah tawaran seorang produser Hollywood untuk membuat ulang film LP dengan seluruh penggarapannya dilakukan oleh sutradara terkenal di sana. Sang Maestro LP sendiri, Andrea Hirata, membenarkan berita ini, "Produser itu menemui saya ketika saya ikut sekolah singkat di New York. Dia bilang tertarik untuk menawarkan ke Danny Boyle, sutradara Slumdog Millionaire."
Menurut Hirata, kemungkinan itu sangat menarik karena karakter di film Slumdog juga bisa dilihat di The Rainbow Troops. Ada eksotisme Asia, ada perjuangan yang mewakili tipikal perjuangan anak-anak di "dunia ketiga".
Keberhasilan Andrea Hirata dalam menciptakan karya-karya yang spektakuler juga membuat dirinya didaulat KBRI Washington, D.C. sebagai wakil dari kalangan kesusastraan Indonesia untuk bertatap muka dengan pemerhati dan pencinta karya sastra Indonesia di Washington, D.C. dan sekitarnya pada awal November silam. Acara itu bertajuk "Meet and Greet dengan Penulis Novel Andrea Hirata". Acara ini memang menjadi bagian dari upaya untuk semakin memperkenalkan kreativitas bangsa, khususnya karya sastra Indonesia kepada publik AS.
Gaung LP juga merambah ke mana-mana. Pada 11 November 2010, pihak International Writing Program (IWP) di Universitas Iowa bekerja sama dengan the Washington, D.C. Dance Ensemble untuk menampilkan koreografi bab I, Novel LP, di Washington, D.C.
Selain itu, kepopuleran LP juga mungkin akan merambah ke Gedung Putih. KBRI di Washington, D.C. telah mengirimkan novel The Rainbow Troops kepada Presiden Barack Obama.
Luar biasa sekali! Kita tunggu saja gebrakan LP berikutnya.
Brad Pitt Tertarik Filmkan Laskar Pelangi
Novel sukses karya Andrea Hirata, Laskar Pelangi mendapatkan apresiasi dari dunia internasional. Dikabarkan sebuah perusahaan penerbit buku sastra terbaik di Amerika Serikat, Farrar, Strauss and Giroux atau FSG berminat menerbitkan novel Laskar Pelangi tersebut secara internasional.
Kabar membanggakan ini datang setelah agen buku Andrea Hirata tersebut yang berada di New York, Kathleen Andreson memberitahu berita tersebut ke Andrea. Selain dilirik oleh penerbit buku terkenal, Laskar Pelangi juga menarik perhatian perusahaan film milik aktor tampan Hollywood, Brad Pitt, Plan B.
Mereka berniat memfilmkan kembali Laskar Pelangi. Ini merupakan prestasi yang sangat membanggakan untuk indonesia setelah banyak indovid-individunya mampu berbicara banyak di dunia Internasional. Selamat
Sundance 2012: The Raid - review
West meets east in an action-packed gangster-and-martial-arts thriller that could teach Quentin Tarantino a few things about creating a cult hit
Since Quentin Tarantino and Robert Rodriguez brought it back from extinction, the genre known as grindhouse hasn't exactly flourished. Last year's self-explanatory Hobo with a Shotgun took the baton with a certain swagger, but that film was primarily a spoof. It seems the reason the trend never really caught fire is because a good grindhouse movie is hard to pull off. Blood may flow and gore may fly, smart-ass one-liners are permissible – but the golden rule is that it must take itself seriously, especially in the face of absurdity.
But from nowhere – or more precisely, Indonesia – comes Gareth Evans' The Raid. The Raid is a grindhouse film that ticks just about every box: the direction is slick without being blandly professional, the performances are as good as they need to be, and the music is an ominous electronic pulse that hums like a lost John Carpenter classic. Meanwhile the violence simply never stops, getting more and more OTT until finally, by the closing credits, one starts to wonder not only how many characters were killed during the making of this insanely pleasurable action thriller, but how many of its cast perished, too.
Filmed in an abandoned government building, The Raid starts with a police assault on a high-rise slum, where notorious crime boss Tama plays landlord to the scum of Jakarta. Somewhere in the labyrinth is Tama's drug lab, and the intention is to take out Tama and close down his operation. But as the cops rise up through the building, their presence doesn't seem to have the desired effect. Instead of being scared, the criminals are prepared, and with a largely rookie squad on his hands, the police chief realises that the operation isn't quite as straightforward as he has been led to believe.
The Raid's success is made even more unlikely by its backstory: though its martial arts scenes are as brutal and authentic as anything to come out of south-east Asia, director Evans is actually a Welshman transplanted to Indonesia. This mix of east and west may well be the deciding factor in what makes The Raid so very good as Evans has given his film a storyline that, while rudimentary, makes room for character development, changes of pace and a twist that allows the narrative to flip from an invasion story to an escape adventure at precisely the midway mark.
As action films go, The Raid is far from reinventing the wheel. But for anyone who likes their movies breakneck, Evans' film is like nothing else around, an instant cult hit that carries the funky, illicit thrill of the fleapit and serves as an unbeatable reminder of the gloriously disreputable heyday of VHS.
PLOT: An elite SWAT team is tasked with capturing an elusive drug lord, who's holed up in a heavily guarded apartment building in Jakarta. Within moments, the crew is spotted, and attacked from all corners of the building by the drug lord's hundreds of minions. With his crew all but wiped out, a junior member of the team (Iko Uwais) is forced to battle his way through the complex in order to make it back to his family in one piece.
REVIEW: Oh hell yes! After missing it at TIFF, I've finally been able to catch up with Gareth Evans' Indonesian action epic, THE RAID. Sony Classics is betting heavily on this one, with the studio going as far as to hire Mike Shinoda of Linkin' Park to compose a slick new score (co-written with Joseph Trapanese). I can see why, asTHE RAID is absolutely the best martial arts action film I've seen since the heyday of Hong Kong action. Watching THE RAID at Sundance, I can imagine how festival audiences must have felt in the early nineties watching John Woo films like HARD-BOILED and THE KILLER. Like Woo, Evans takes what could have been a routine potboiler, and infuses it with a shot of nitro glycerine, making this the most badass, bone-crunching action epics you're likely to see for quite some time.
THE RAID runs about 100 minutes, and I'm not exaggerating when I say that at least 85 minutes of that is packed to the rim with every kind of action sequence you can imagine. Initially, THE RAID is a bullet-laden shoot-em' up, but as the SWAT team starts to run out of ammo and weapons they're forced to rely on improvised edged weapons and brawn, and in that regard, star Iko Uwais is one of the most proficient on-screen martial artists since Tony Jaa shot onto the market with ONG BAK.For my money though, Uwais is even better than Jaa. Like Jaa, he's not particularly brawny, and doesn't carry himself as a badass. Rather, he's a quiet family man, who's simply scared out of his wits and just wants to get home in one piece- and to that end, will take out anyone that's stupid enough to get in his way. I like that kind of regular-guy, understated cool, and it's nice to see an action hero who never resorts to cheesy action hero posing, or one-liners.Uwais fighting prowess is captured dynamically by Evans, who eschews Hollywood style close-cutting for medium and long-shots, letting us see at all times exactly what's going on. In fact, other than some CGI blood spurts, THE RAIDis totally old-school in it's approach. It's pretty obviously inspired by Woo's HARD-BOILED's climatic forty-minute long hospital shootout- albeit stretched out to feature length. The story is pretty simple here, and really just an excuse to stage wall-to-wall balls out action, but I'm not complaining, and neither was the notoriously tough to please Sundance press crowd I saw this with, with lots of cheers and whoops heard through (I also let loose a few “awwwww shiiiiiits”). Apparently, Evans shot this for a ridiculous low budget, but you'd never know it, with it being as polished as any big-budget actioner I've seen recently. Shinoda's score is also really cool, and complements the action beautifully, especially during the climatic 2-on-1 battle with the drug-lord's crazed main henchman.After the screening, someone else who saw the movie told me that she felt like she needed a Valium, as she got so wound-up by the time it was over. It's really one of those types of balls-out flicks that really does a number on you when you're watching it, as it's like a roller-coaster ride that just won't stop. Frankly, I wouldn't have it any other way, and in between this, DRIVE, and HAYWIRE, maybe we're FINALLY seeing a return to a more stripped down, classic style of action film-making. One thing's for sure, both Gareth Evans and star Iko Uwais are guys to watch, and I can't wait to see what they come up with next. In my grade book, this one gets a kungfuin' A!9/10
A good action movie is not simply throwing every single bullet, punch, slice, and explosion into a blender and dumping it onto a screen so it can punch you in the adrenaline gland. It has to be finessed. There has to be tension—the wind-up to the hit, the pull of the hammer. The Raid writer-director Gareth Evans knows how to deliver some of the most magnificent action scenes in years, but more importantly, he knows how to build to those scenes. Working off a bare-bones, serviceable plot and characters built more for their fists than their personalities, The Raid is an action feast that keeps finding new ways to dish out inventive kills and fights, and keeps its blood-thirsty audience cheering.
The plot of The Raid is a glowing tribute to the “Keep It Simple, Stupid” principle. A SWAT team made up of mostly rookies is tasked with raiding a high-rise apartment building and arresting its crime lord, Tama (Ray Sahetapy). It’s not a particularly easy task, but matters become far more complicated and deadly (mostly deadly; lot of deaths) when Tama makes an announcement over the PA system saying that anyone who kills one of the 20 SWAT members gets free lifetime rent and a pat on the head. Since free rent in a shitty high-rise filled with other criminals is an ideal life, the tenants rain down hell on the SWAT team and the cops must fight for their lives to escape.
The murderous tenants are armed with guns, machetes, and twenty years of martial arts training, and the SWAT team is woefully outmatched. However, they do have one lethal weapon: Rama (Iko Uwais). He’s the first character we meet and we see him destroying a punching bag. It is a fantastic bit of foreshadowing to the revelation that every guy he faces will be that punching bag. It doesn’t even matter if the punching bag is armed with guns and machetes. When you face off against Rama, you are simply a bag of meat and a sack of broken bones.
But Evans wisely doesn’t jump into the action. He lets us see what happens to that poor, defenseless punching bag at the beginning of the movie and then we wait. We wait for the team to lay out their plan. We wait for them to infiltrate the building and take down the first few floors of drug addicts and perhaps some perfectly nice people who are just looking for a cheap place to stay. But then they’re spotted, the word goes out for them to die, and that’s when Evans pulls the trigger on his bazooka.
The Raid makes you feel every single hit and there are a lot of hits. The sheer madness of the action has to be seen to be believed. Yes, we’ve seen martial arts fights before. Yes, we’ve seen firefights before. Yes, we’ve seen explosions before. But Evans makes us feel like we’re seeing all of these things for the first time. The fight choreography is remarkable, the cinematography captures it beautifully, and the editing ties it all together with so much power that almost every hit is met with a sympathetic “Oof!”, “Ow!”, and “Holy shit!” from the audience.
Evans knows that his best weapon is the martial arts brilliance of his actors, but as with everything else in the movie, he bides his time. Like ammunition, Evans makes every shot count. Every moment where a punch isn’t being thrown or a bullet being fired is either a cherished moment to breathe or another moment to hold your breath. It’s in the drag of the machete, hiding in the walls so as not to be stabbed by a machete, the realization that there’s going to be a fight with a guy who has a machete. Also a requirement for living in the building: bring your own machete. But whether the battle is with machetes, guns, or fists, Evans always proves himself a master of building tension and then absolutely delivering on the mind-blowing action. Even when action fatigue starts to set in, Evans uses it to his advantage and our weariness matches up with Rama.
Because for The Raid, action is what it’s all about. The story and the characters are as lean as it comes. The objective is simple, the twists are predictable, and the performances are good but secondary to the fisticuffs. There’s no rule that an action movie should sacrifice the non-punchy-shooty parts in order to be successful, and Evans doesn’t brush off these scenes. Again, he knows when to take a breather and while there’s absolutely nothing original in the story, it’s paced perfectly and gets the job done.
The job: deliver one of the best action movies in years. Mission accomplished.
Expect Twitter to explode shortly with reactions to the Sundance premiere of Gareth Evans' The Raid, the Indonesian actioner that blew minds at Toronto but has been kept largely under wraps until now by Sony Classics, who smartly snatched up the pic and will distribute it this March. I caught The Raid last week at a pre-Sundance screening with its new score by composer Joe Trapanese and Mike Shinoda -- yes, of Linkin Park -- and can attest that the early praise was well-earned because holy crap, it's amazing. Everything you've heard about it? True.
I know, I just got done ranting about film festival goggles and inflated pre-release hype. But being mindful of falling into that trap, I've thought a lot about The Raid in the days since, and it's stuck. Not only that -- it's the rare film that I can't wait to see again. I've described it by pointing to the famous one-take staircase fight in Tony Jaa's The Protector: It prompts the kind of rush of that scene, only for the entire runtime.
Briefly, the simple premise of The Raid: SWAT agents in Jakarta, Indonesia, descend on an apartment building run by a local crime lord, only to find that the place is infested with criminals and the odds are stacked against them. The action emphasis is on gun battles and a form of martial arts called silat, which Evans previously used in his 2009 film Merantau, and to say the very least, it's a brutal, stabby, bone-crunching kind of action pic.
Pairing Evans' film with an electro-ish score by Trapanese and Shinoda works extremely well as their energies are well-matched, though I can't say what the original score sounded like. Suffice to say it may be the best thing to come of Linkin Park, like ever, and it adds a strangely perfect universality to the proceedings -- as if of course even halfway across the world in Indonesia dubstep is a thing, and folks imagine their every move underscored by a badass, grimy soundtrack. Who doesn't?
There are plot intricacies that are best left unspoiled, touching on the documented predominance of crime and corruption in Jakarta, but human relationships at the center of the chaos work well; in star Iko Uwais, Evans found a performer who can balance character while pulling off great, believable fight choreography right in front of your eyes. Even the extras seem like seasoned martial arts pros, and there are dozens, maybe a hundred who play nameless thugs and cops, battling it out in this feature-length melee.
As for those fights, The Raid features some of the bloodiest, impressive, and most inventive action sequences in recent memory. It's a movie packed with highlights and few moments of rest, full of bruising elbows and machetes and machine gun blasts and axes to the neck where most action flicks these days throw stage punches in the wind. This is the unrelenting action tour de force we've been waiting for, and a window into the world of silat, heretofore largely unexplored in film.
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Movie starring martial artist Iko Uwais makesoff with the audience award and the Dublin Film Critics Circle Best Film prize.
LONDON – Gareth Evans’ martial arts film The Raid, starring Indonesian martial artist Iko Uwais, scored with both the audience and critics alike at this year’s Jameson Dublin International Film Festival.
The movie, already a big hit at festivals including the people’s choice award during last year’s Toronto Film Festival, picked up the audience award and the Dublin Film Critics Circle Best Film prize.
Other nodsdished out at the end of the Irish festival included a best actress plaudit for Greta Gerwig for her turn in Whit Stillman’s Damsels in Distress.
This bestscreenplay nod went to Joseph Cedar’s Footnote while Nuala: A Life and Death was named best Irish film by the Dublin Film Critics Circle.
Michael Fuith took homethe best actor award for his role in Markus Schleinzer’s Michael. Nuri Bilge Ceylan won the bestdirector plaudit for Once Upon ATime In Anatolia. Al Pacino was awardedthe Volta by president Michael D. Higgins for his outstanding contribution tofilm.
Guest sturning out for the festival, celebrating its 10th year, included Pacino, MartinSheen, Glenn Close, Mark Wahlberg, Michael Madsen, Stillman, KennethLonergan, Agnieszka Holland and Marjane Satrapi.
Post time 20-1-2012 04:02 AM
