Pre Release Dzone 8 Pro, contact us for info & order

software karaoke dzone 8 pro 1

software karaoke dzone 8 pro 2

software karaoke dzone 8 pro 3

Dzone 8 Pro preview & user guide

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • Twitter
  • RSS

Bonus Kalender Dzone Karaoke

software-karaoke-dzone

Mumpung masih awal tahun dzone karaoke mau bagi-bagi bonus kalender 2013. Selama persediaan masih ada.

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • Twitter
  • RSS

Bonus kaos keren / Cool t-shirt bonus

program karaoke terbaik

Dapatkan bonus kaos keren untuk setiap pembelian software dzone Karaoke. Syarat dan ketentuan berlaku.
Cool t-shirts get bonus for each purchase dzone Karaoke software. Terms and conditions apply.

Tinggalkan pesan disini untuk pemesanan.
Leave a message here for reservations.

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • Twitter
  • RSS

PAKET AUDIO KARAOKE FOR HOME

speaker-karaoke-lotus-art

Spesifikasi :

- Power Amplifier Lotus Art LFX 7800

With SONIC BBE ENHANCEMENT PROCESSOR integrated

350 Watt, 2 Channel

- Speaker Lotus Art 10″

- Subwoofer Fidelity FDT-120SW MK II

- Stand / Bracket Speaker

- Microphone 2 pcs

- 1 set kabel sound system

Harga Rp. 8,000,000,-

Berminat?? Silahkan tinggalkan pesan disini.

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • Twitter
  • RSS

Delapan Kamar Karaoke Paling Unik di Jepang

software-karaoke-terbaik

Karaoke adalah salah satu kebutuhan kehidupan modern di Jepang. Bukan hanya Jepang, tapi dinegara-negara maju asia, karaoke merupakan tempat pengusir lelah dari kehidupan kantor yang sangat menjemukan, atau bisa menjadi tempat berkumpul keluarga dan rekan bisnis.

Biasanya di tempat-tempat karaoke di negara-negara asia timur seperti Jepang dan Korea, kamar karaoke berisi beberapa lampu kelap-kelip, genderang, atau alat lain yang digunakan sebagai aksesori penyanyinya yang sedang berdiri menghibur didepan kerabatnya. Akan tetapi di Jepang ada pula kamar karaoke yang memiliki inovasi yang lain untuk menghibur para pelanggannya. Berikut delapan kamar karaoke paling unik di Jepang.

1. Nico-Kara Room

japan-karaoke-room

Di Kobayashi, ada sebuah box karaoke yang menyediakan penyanyi dapat secara langsung bernyanyi sekaligus ditonton oleh pengguna situs sharing video Jepang, Nico-nico live. Mereka menggunakan alat yang bernama Joysound Custom “crosso” karaoke machine.

2. Utasuki

japan-karaoke-room

Seperti namanya, “penyuka lagu,” Utasuki didirikan oleh pengembang yang sama dari nico-kara room. Utasuki adalah semacam social network para penyanyi karaoke. Anda dapat menyimpan nyanyian anda disana yang kemudian bisa anda bagikan ke teman-teman rekan kerja anda. Anda juga dapat membuat avatar sendiri yang digunakan saat bernyanyi dan akan muncul di tv karaoke anda.

3. Dam Tomo

japan-karaoke-room

Tempat karaoke yang satu ini sama seperti halnya dengan utasuki, namun kali ini anda dapat mengupload hasil nyanyian anda secara gratis.

4. Solo Karaoke Booths

solo-karaoke-room

Industri karaoke Jepang yang saat ini merambah di Internet, membuat para perusahaan karaoke membuat inovasi baru dan terbilang unik. Salah satunya di Tokyo, mereka membuat kamar karaoke pribadi yang memang ditujukan kepada satu orang, yang menarik disini adalah mereka menyediakan berbagai perlengkapan rekaman yang sangat lengkap layaknya studio musik.

5. Francfranc Room

francfranc-room

Ruangan karaoke ini menyajikan sensasi yang berbeda, ruangan karaoke di Francfranc room ini dibuat seperti ruangan bersantai rumah anda. Dengan jendela tiruan yang berada di dinding karaoke dan perabotan rumah mewah yang diberikan, anda seperti tidak berada dalam ruangan karaoke.

6. Big Kids Room

big-kids-room

Sama seperti Francfranc room, big kids room menyediakan ruangan layaknya tempat bermain bagi anak anda sehingga anda dapat bernyanyi dan berkumpul bersama seluruh keluarga dan anak anda tanpa dilanda kebosanan.

7. Relax Karaoke

relax-karaoke-room

Dibuat oleh pembuat furnitur rumah, Nitori, tempat karaoke yang satu ini dibuat bergaya rumahan dengan satu set lengkap perlengkapan karaoke. Akan tetapi anda mungkin tidak bisa bernyanyi dengan durasi yang lama disana karena ruangan itu hanya dibuat sebagai showroom gaya kamar yang akan dijual oleh Nitori.

8. Wandaburu Room

wandaburu-karaoke-room

Ruangan ini mungkin yang paling unik karena di ruangan ini anda dapat bernyanyi bersama anjing peliharaan anda. Kata wandaburu sendiri berasal dari kata bahasa Inggris, “wonderful.”

[Link]   [Link]

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • Twitter
  • RSS

Selamat Natal & Tahun Baru 2013

santa girl

 

Dzone Karaoke mengucapkan Selamat Hari Natal & Tahun Baru

Promo Special Natal & Tahun Baru

24 Des – 5 Jan 2013

Setiap Pembelian Software Karaoke Dzone

Akan mendapatkan potongan harga sebesar  100.000  -  1.000.000

Tunggu apa lagi, ayo buruan pesan sekarang….

klik disini untuk product kami

hadiah dzone

 

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • Twitter
  • RSS

Cara Membuat Lagu Karaoke

Cara Membuat Lagu Karaoke

3 Program Pilihan untuk Membuat Lagu Karaoke

Rekan-rekan semua pasti udah kenal yang namanya Karaoke kan?

Menurut Wikipedia; Karaoke adalah sebuah bentuk hiburan di mana seseorang menyanyi diiringi dengan musik dan teks lirik yang ditunjukkan pada sebuah layar televisi. Di Asia, karaoke sangat popular.

Secara etimologis kata karaoke merupakan kata majemuk: “kara” yang berarti “kosong” dan “oke” yang merupakan bentuk pendek dari ‘orkestra’.

Kita yang menyukai karaoke biasanya menggunakan jasa tempat karaoke untuk berkumpul bersama teman-teman sambil berkaraoke ria. Menyenangkan memang, namun dengan alasan biaya yang mahal maka tidak jarang kita jadi pikir-pikir jika ingin sering-sering ke tempat karaoke.

Lantas bisakah kita membuat sendiri lagu-lagu karaoke sehingga kita tidak perlu tiap akhir pekan mengunjungi tempat karaoke yang cukup mahal biayanya itu?

Bisa, caranya kita bikin dulu lagu-lagu karaoke dengan software untuk membuat lagu karaoke, nanti kalau sudah jadi baru bisa kita pakai untuk berkaraoke sendiri dirumah atau bersama teman-teman.

Bagaimana cara menggunakan program untuk membuat lagu karaoke itu?

Caranya sebenarnya sangat mudah, karena rata-rata software atau program pembuat lagu karaoke itu didesain semudah mungkin untuk digunakan. Bahkan bagi pemulapun saya yakin tidak akan mengalami kesulitan.

Apa saja software yang bisa digunakan untuk membuat lagu karaoke?

Ada banyak sofware, namun menurut saya silahkan gunakan software-software berikut yang paling mudah untuk digunakan :

1. Adobe Audition

software-karaoke-adobe

 

2. DART Karaoke

software-karaoke-dart

 

3. Karaoke Anything

program karaoke anything

Sengaja saya berikan 3 software rekomendasi saja, karena menurut saya sofware-software itulah yang termudah digunakan untuk membuat lagu karaoke.

Cara kerja sofware-software tersebut adalah dengan teknik menghilangkan vokal saluran kiri (left track) dengan kebalikannya dari musik yang berada pada sebelah kanan (right track), kemudian menempatkan hasil pengolahan tadi ke kedua saluran Kiri dan kanan secara bersamaan, proses ini disebut dengan “Efek Karaoke”.

Kebanyakan lagu-lagu dewasa ini musiknya digabung dengan vokal yang hampir sama keras baik di saluran kiri dan kanan. Hal ini dilakukan agar memberikan efek seolah-olah seorang vokalis berada di tengah sebuah panggung yang sedang diiringi band ketika anda memainkannya pada CD player.

Ketika efek karaoke diterapkan untuk jenis rekaman ini, suara vokal akan hilang atau mendekati menghilang, efek karaoke tidak bekerja pada rekaman mono atau pada rekaman stereo yang vokalnya dicampur/di-mix dari pusat.

Itulah cara membuat musik lagu karaoke dengan beberapa program pilihan saya. Semoga bisa bermanfaat dan tidak membuat bingung

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • Twitter
  • RSS

Behringer EP2000 Stereo Power Amp

Amp Karaoke

software-karaoke-terbaik

 

The Behringer Europower EP2000 is an extremely musical power amp that can take a whole night’s worth of abuse without missing a beat’even at 2 Ohms! The Europower EP2000 is a dependable workhorse that will never let you down.

You get enough real-world watts to get you through the roughest gigs: 2 x 650 continuous watts into 2 Ohms, 2 x 500 continuous watts into 4 Ohms or 2,000 continuous watts into 4 Ohms bridged mono operation. Experience has probably taught you that there is nothing worse than when your amp runs out of breath. With Behringer Europower, you’ve got your back covered all the way.

A panel of switches found on the back panel offers an array of cool options to apply to both channels of the EP2000 and EP4000. The Clip Limiter lets you get even more out of the amplifier without overdriving either it or your speaker system. Built-in circuitry automatically senses when the EP2000 or EP4000 is being overdriven into ‘clipping’ and then momentarily reduces the input level to avoid clipping distortion. This all happens in a few thousandths of a second, so it’s an inaudible way of avoiding audible clipping distortion. Of course, you can turn the Limiter off if you’re feeling lucky.

There’s plenty of awesome features on the outside of the EP2000 and EP4000, but there’s also a team of cool components on the inside helping it work its magic. They come loaded with famously reliable Toshiba/Fairchild power transistors as well as a high-current toroidal transformer for ultra-high transient response and further reliability. Independent DC and thermal overload protection on each channel automatically protects the amplifier and speakers from any show-stopping meltdowns. There’s no need for fuses, giving you one fewer potential mid-gig headache.

The EP2000 and EP4000 have both XLR and 1/4″ TRS inputs. Even the outputs are totally flexible, consisting of Speakon-compatible outputs and five-way binding posts. Whether you’re dealing with bare wire or boutique audiophile cabling, the EP2000 and EP4000 are right at home.

It takes huge pulses of energy (current and voltage) to propel a woofer cone out fast enough to match a bass beat. That’s called Transient Response and it’s the holy grail of amp designers. By carefully selecting transistors with extremely high slew rates and optimizing other proprietary parts of our circuitry, Behringer amps are able to react instantly to even the most demanding electronic bass impulses. If the woofers in your PA system can keep up, your audience will hear a tighter, crisper, more natural sound.

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • Twitter
  • RSS

KEF Home THX Loudspeaker System

speaker-karaoke

KEF’s Home THX speaker system is somewhat unusual in that it includes an active subwoofer. (While most Home Theater subs are powered types; it’s just that few THX models are.) Although powered speakers have never enjoyed much popularity with American audiophiles, they can yield better results than the mix’n'match approach because each amplifier/driver combination can be optimized.

Any combination of a THX amplifier and THX loudspeaker will have about the same sensitivity as any other such combination. The reason each channel of a THX-certified amplifier is required to have an output capability of 150W (into 6 ohms) is because one or another of them may be called on to drive a subwoofer of unpredictable impedance. (In fact, THX subsequently modified its amplifier power standard to accommodate receivers, whose loudspeaker outputs have clearly defined functions. Only the receiver’s subwoofer outputs are required to deliver the full 150W.)

Description
The front KEF AV3 speakers are typically THX in design, in that they have dual midrange/woofers and three tweeters, with all five units mounted vertically in-line. The AV2 surround speakers are also typically THX, in that they are dipoles. Cabinet finish and construction appeared to be very good, although my rubber-mallet test (less painful than the equivalent knuckle and fist tests) indicated a slight resonance around 500Hz from two spots on the AV3′s back panel. (The subwoofer enclosure was resolutely inert.)

The KEF AV1 subwoofer’s amplifier is mounted inside the subwoofer enclosure on standard rack mounts. It is removable, allowing it to be optionally installed in a separate 19″ rack. I opted not to do this, which proved to be a bit of a mistake (see below).

The subwoofer amplifier can accept balanced or unbalanced inputs, be fed from the loudspeaker outputs of a Home Theater receiver or the line outputs of a stand-alone surround decoder. It can be operated both as a universal subwoofer (“stereo” mode) or as a THX subwoofer.

When the Stereo/THX switch is in Stereo mode, the Level control can be used for setting LF balance, and the (crossover) Frequency control on the back of the amplifier can be used to change the subwoofer’s low-pass inflection point between 50Hz to 150Hz. In THX mode, the level and crossover controls are deactivated; both the sensitivity and the crossover frequency are fixed according to THX specs.

The subwoofer amp’s two sets of inputs are marked Conventional Stereo and Home Theater THX/Pro-Logic. The Conventional Stereo inputs accept full-range left- and right-channel inputs from a stereo preamp or receiver, feed a low-passed blend of the L and R bass to the subwoofer amp, and return the signals to output receptacles for connection to an external power amplifier. The unbalanced outputs can be full-range, for a typical stereo pair of loudspeakers, or high-pass–filtered below 100Hz for use with satellites of limited bass-handling capability. Conventional Stereo also has XLR pass-throughs that draw off the bass signals and feed them (blended) to the subwoofer while outputting full-range L and R signals to the main stereo amplifier. No high-pass filtered outputs are available when using the XLR connectors.

Also among the Conventional Stereo group are two pairs of 5-way binding posts, to be used when you want to augment the low end of a system that has no line-level outputs. Each pair is internally strapped, providing the option of passing the stereo signals through the AV1 and on to the stereo speakers, or of simply drawing off signal from the receiver’s outputs. If the pass-throughs are used, the cables to and from the AV1 should be of fairly heavy gauge; otherwise, 16-gauge zip cord will do jes’ fine.

kef-speaker

There’s only one THX/Pro-Logic input, which is configured on the assumption that it will be fed from the low-pass–filtered Subwoofer output of a surround decoder; it has no internal filter. A single output, which is simply a hard-wired feedthrough from the input, can be used to drive another power amp and subwoofer. (If the decoder has stereo subwoofer outputs, these can be summed by connecting them to both THX receptacles, or can be used to drive a pair of AV1s.)

The “Blend” control is an interesting innovation, but I’m not sure what it does. The manual seems to imply that it’s a phase control, to adjust the timing of the subwoofer relative to the other speakers. Indeed, the control is marked with a + range and a – range, which would support the idea that it varies woofer phase. But this is impossible! There’s simply no way the subwoofer could deliver output before the signal reaches its amplifier input. Advancing the woofer’s phase ahead of that of the other speakers could only be done by delaying the other speakers’ signals and operating the sub in real time. Perhaps KEF can explain what’s going on here.

Installation
The THX spec calls for very narrow vertical dispersion from the front speakers, which means they must either be raised to ear height or tilted upward by an appropriate amount. (Unless the center speaker is behind an acoustically transparent screen, it must either go over or under the screen.) Most “universal” speaker stands can get the speakers to ear height, but few of them allow you to adjust their vertical tilt. KEF makes optional stands for their LCR speakers, but their 36″ height puts the speakers’ tweeters about a foot above ear height, and there’s no provision for tilting them. I used Neoprene doorstop wedges (available from any hardware store) under the rear of each speaker to aim them downward.

The stereo pair was placed flanking the on-wall screen and about 26″ in front of it, and spaced so as to form an angle of about 50° with respect to the center of the listening area. The center speaker was located the same measured distance from the center listening seat as the left and right speakers, but on a 10″ stand I had, and propped up with wedges under the front to aim them upward. The subwoofer was placed at the left of the left-channel speaker—about a third of the room width from the side wall. (In my listening room, one or two subs in that 1/3-width location gives the smoothest low end; 1/4 or 1/2 width causes a deep dip at around 40Hz—right in the middle of the bass drum, double bass, and exploding-Death-Star range.)

The surround speakers went atop a pair of industrial tripod-base public-address speaker stands, close to the wall on each side of the row of audience seats. (This is a disadvantage of dipole surrounds; only one row of seats can be in their null zone, which is where you’re supposed to be; anyone who isn’t will hear a higher surround level than they should.)

Since everything in the system (except the signal sources) was THX-specified, there wasn’t much need for calibration. The front-channel levels were right on the nose, as was the subwoofer level. A few input levels had to be reset to accommodate different-level sources, and the surround channels had to be raised by about 2dB in order to meet spec, but that was it

Devout subjectivists may scoff at the idea of setting subwoofer level by measurement, but the results I’ve gotten by metering it have been consistently spot-on, as long as the spl meter is placed at head height in the main listening seat. With that setting, program material has varied from somewhat lean to slightly bass-heavy, almost exactly according to expectation. Old LPs sound fat because of their LP equalization (which required low-end boost that flattened out at 100 rather than 50Hz), early stereo LPs are usually a bit lean, and recent audiophile recordings (Dorians, Telarcs, References) are as fat-sounding as one would expect from the use of wide-range omnidirectional mikes for their main pickups. Movie soundtracks followed the same pattern: Early stereo LDs are more or less bass-shy, and later ones increasingly have thunderous bass, often far beyond the point of wretched excess. (Give the public what it wants: bass, bass, and more bass!)

Misgivings
Shortly before KEF was to ship their THX system to me, a devastating review of it appeared in Home Theater Technology magazine. The reviewer, Stereophile expatriate Corey Greenberg, described the system as being in-your-face aggressive and excessively bright. The bullet-to-the-head was a succinct three words: “We hated it.” Barely a day after I read that, I got a call from KEF informing me that delivery of my review system would be “slightly delayed.” Seems it had gone back to the drawing board for a few last-minute modifications.

Suddenly, I felt a great unease. I’ve seen (or rather, heard) what usually happens when a manufacturer reworks a product in response to a bad review. What usually happens is that the “correction” overshoots the mark, resulting in a sound that’s flawed in the opposite direction. So I asked KEF if I could also borrow a set of the speakers that got panned, for comparison with the new, ostensibly improved ones. I was told they didn’t have any of them left. Not a single one. Nada. And this was before the new ones were even in production!

I had a vivid mental picture of men in white coats taking sledgehammers to KEF’s inventory of the tainted speakers, like a farmer culling plague-infected chickens. (More likely they were stripping the old crossover networks out of them in preparation for the new ones.) So, while I wasn’t exactly expecting this system to sound mediocre—after all, KEF has a long track record for making very respectable speakers—I must admit that I approached these speakers with some misgivings.

Listening
First off, these speakers proved to be very easy to listen to, which would imply that they are very different from the ones reviewed in HTT. They sounded silky-smooth, relatively free from colorations, impressively authoritative, and they imaged like gangbusters! Center bunching from mono sources was very tight, even with the center channel turned off, and specificity from stereo sources was outstandingly good. Between-the-speaker images were stable and unambiguously placed.

These are great Home Theater speakers, with a low end that never once complained, no matter how much cinematic violence I threw at them. Bass was very deep, solid, and well-behaved, but only moderately well-defined. The lower midrange seemed a little elevated, producing a vaguely chesty quality that was consistent from recording to recording, and there was a slight “aw” coloration.

kef-subwoofer

Highs were sweet to the point of dullness, despite a slight complementary accent from the two sets of power amps I tried. Detail was okay but nothing to celebrate, while the midrange was more laid-back than that of any THX system I’ve heard, which is (in my book) not a strong endorsement. With the speakers driven by the Boulder amplifiers, the system sounded a little less laid-back, but not by much of a margin.

With neither the Boulder amplifier nor the Parasound, did the KEFs have the immediacy necessary to elicit startle responses. This didn’t seem as much related to frequency response as to speed; they lacked what I call “snap” and Martin Colloms calls “pace.” It sounded as though the speakers hesitated very briefly before reproducing a sharp attack. They also seemed to darken timbres, as though the instruments making the sounds were larger than life. The effect was similar to playing an LP at reduced platter speed, except that there was no accompanying pitch change. These qualities were far less noticeable when viewing films than when listening to music, because the picture occupies much of the listener’s attention, but they were quite noticeable when that distraction was removed.

Dynamic range was good, with less spurious compression than average, but more than I’ve heard from some speakers. (Notable for their lack of compression were a pair of powered monitors from an English firm called ATC, the original Fosgate Home THX speakers, and the massive Dunlavy SC-VIs, footnote 1). But while the KEFs were nonetheless quite capable of producing prodigious volume levels (THX calls for a max headroom of up to 105dB), they showed some evidence of stress—a slight coarsening of textures—at levels above about 95dB.

To say that the KEFs sounded less like any Home THX speakers I’ve ever heard is not to say they were better music reproducers than the others. They were just quite different. All the others had several things in common: They reproduced the core of the sound—the musical and extra-musical midrange—with a high degree of accuracy and realism, they could play at very high levels without strain, and their low end was astonishingly good. But all have lacked the suavity, delicacy, refinement, and resolution of the legendary high-end speakers. Maybe there are some THX systems out there that have it all, but I haven’t heard one.

But I don’t believe this is a result of constraints imposed by the THX requirements. They are, after all, only minimum performance requirements, which define a level of acceptability below which a product cannot receive THX certification. There’s nothing in the THX specs that says a speaker can’t exceed those minima.

I think, rather, that the reason for THX speaker shortcomings is that some high-end manufacturers who sign on to the program do so more for its promotional value than out of a conviction that the THX specs have any relevance for music reproduction. For example,even though KEF signed up for the THX program, some statements in their instruction manuals suggest they haven’t really signed on to it. For example, instead of recommending THX-certified amplifiers for driving their THX AV2s and ’3s, they provide helpful suggestions for choosing appropriate amplifiers. They don’t even acknowledge that THX amplifiers exist! The clincher, though, was their suggestion that their THX system should “supplement” one’s music system rather than replace it.

JGH Concludes
So, did I “hate ‘em?” Nope, I just didn’t like ‘em very much. As impressive as the KEF THX speakers were with noisy movie soundtracks, I found them to be unexciting music reproducers. They never gave me goosebumps, they never made me sit up and take notice, they never drew me irresistibly into the music, and they never inspired an orgy of revisiting all my favorite recordings. The best I can say for them is that—like a bland personality—they never irritated or offended me.

Sorry, KEF, but I think you overdid the course correction. I know you can do better with these, even within the “constraints” imposed by THX, because I’ve heard KEF speakers that were better. But until that happens, I can’t recommend this system for music listening.

Review by : stereophile

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • Twitter
  • RSS

10 Film Terbaik 2012 Versi TIME

VIVAlife - Seperti tahun-tahun sebelumnya, TIME kembali merilis daftar sepuluh film terbaik. Kali ini, daftar tersebut lebih bervariasi. Mulai dari drama, animasi, hingga action.

Salah satu film yang berhasil masuk dalam daftar ini adalah The Invisible War. Film dokumenter garapan sutradara Kirby Dick tersebut dengan gamblang mengisahkan kasus pemerkosaan dan pelecehan seksual di dalam tubuh militer Amerika. Para tentara laki-laki dan perempuan ini bukan diperkosa atau dilecehkan oleh musuh, melainkan oleh sesama rekan tentara, komandan, dan bahkan pejabat.

Film yang dibintangi Helen Benedict, Anu Bhagwati, Susan Burke tersebut menampilkan kesaksian dari para korban yang berhasil sembuh dari trauma akibat pelecehan seksual dan pemerkosaan. Oleh TIME, The Invisible War pun disebut sebagai film dokumenter yang sangat kuat.

Selain film Hollywood dan Eropa, daftar ini juga memunculkan satu film produksi Asia. Lewat film Wu Xia (Dragon), sang sutradara Peter Chan berharap bisa mengulang kesuksesan yang pernah diraih Crouching Tiger, Hidden Dragon.

Film Dragon sendiri dibintangi Donnie Yen, Takeshi Kaneshiro, dan Tang Wei. Film ini mengisahkan tentang seorang ahli seni bela diri yang ingin memulai hidup baru. Namun, kehidupannya terusik oleh seorang detektif dan sang mantan guru yang terus memburunya. TIME menyebut Dragon sebagai film yang memiliki koreografi luar biasa dan di sisi lain mampu menggambarkan sisi kelembutan sebuah keluarga.

Berikut sepuluh film terbaik 2012 versi TIME:

1. Amour

Film-amour

Sutradara : Michael Haneke
Pemeran  : Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert

2. Beasts of the Southern Wild

beasts-of-the-southern-wild

Sutradara : Benh Zeitlin
Pemeran  : Quvenzhané Wallis, Dwight Henry, Levy Easterly

3. Life of Pi

life-of-pi

Sutradara : Ang Lee
Pemeran  : Suraj Sharma, Irrfan Khan, Adil Hussain

4. Anna Karenina

anna-karenina

Sutradara : Joe Wright
Pemain    : Keira Knightley, Jude Law, Aaron Taylor-Johnson

5. The Dark Knight Rises

The Dark Knight Rises

Sutradara : Christopher Nolan
Pemeran  : Christian Bale, Tom Hardy, Anne Hathaway,  Joseph Gordon-Levitt

6. Zero Dark Thirty

zero-dark-thirty

Sutradara: Kathryn Bigelow
Pemeran : Chris Pratt, Jessica Chastain, Joel Edgerton

7. Dark Horse

dark-horse

Sutradara : Todd Solondz
Pemeran  : Jordan Gelber, Selma Blair, Christopher Walken, Justin Bartha

8. Dragon

dragon

Sutradara : Peter Chan
Pemeran  : Donnie Yen, Takeshi Kaneshiro, Tang Wei

9. Frankenweenie

frankenweenie

Sutradara : Tim Burton
Pemeran  : Winona Ryder, Catherine O’Hara, Martin Short

10. The Invisible War

the-invisible-war

Sutradara  : Kirby Dick
Pemeran   : Helen Benedict, Anu Bhagwati, Susan Burke

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • Twitter
  • RSS
 Page 1 of 2  1  2 »