Devs / Diligence (2020)

Devs / Diligence (2020)

Devs / Developed (2020)

Just an introduction. I say in advance - this is the best miniseries in many, many years. For me, already stood on a par with "True Detective" and "Mr. Robot" . Just go watch. That's fucked up.

A little fanboy about the author

It is important to understand right away where the interest in this mini-series comes from. Everything goes on behalf of the author. Alex Garland is now considered the most important science fiction writer in the world of cinema. His paintings are large-scale (in terms of the issues raised), beautiful, unlike anything, they are gloomy, philosophically grounded and give the viewer endless scope for comprehension. At first, his name was associated with some of the best works of Dani Boyle - he wrote "Beach" , "Inferno" and "28 Days Later" . Years later, he tried his hand at directing and showed the world Out of the Machine (Ex Machina, 2015) . The one where Oscar Isaac and Sonoya Mizuno dance to "Get Down On Saturday Night" . A couple of years later, he returned with an absolutely mind-blowing "Annihilation" (2018)- where Natalie Portman is, the acid exclusion zone and the BEAR SCREAMING HELP .

On the set of "Out of the Machine"

For two films, the director in the world of film lovers has firmly entrenched himself in the minds of the main modern science fiction film. Unlike some Nolan or Villeneuve - Garland avoids huge scale and "attraction". Each of his works will do without extra zeros in the budget, but at the same time he will tell things no more globally than those of his excellent colleagues in the genre. Plus, one should not ignore the fact that Garland has a very dense mixture of thriller and grimness in his blood, which makes his work even sharper than that of most modern authors. A lot of poetry with a bias to philosophical questions, which his stories ask without a vulgar and flashy tone. In two words - Kubrick's vibes (my personal perception).

About the series

Devs is fucked up. After I finished watching, I developed a persistent aversion to everything in general. It is impossible to watch anything, listen, read. This is such a solid, large-scale, finished work that there is no desire to dilute what he saw yet. If after "Out of the Machine" and "Annihilation" there could still be internal disputes, then after "Developers" - this does not seem possible. This is the science fiction we deserve. A living and elaborate story that raises too many topics to catch at once.

What is remarkable Garland - he managed to shoot a sci-fi story about determinism in the genre of a spy drama about a tragic friend zone. Global questions about the loss of a loved one, the inevitability of fate, God, sacrifice and madness manage to be asked against the background of very local events with a limited number of participants. Everything revolves around, literally, five or seven characters, half of whom, almost the entire series, sit in front of the monitor. The usual gatherings on the porch, the relationship of the ex, the loss of a loved one, work in the office, corporate espionage, non-accidental deaths - this is all so small against the background of the topics raised in the series.

In fact, this is the main merit of the author. Absolutely everything is built on human relationships and emotional reactions to what is happening around the fuck. And it was worked out at the "fucking" level. Every time it seems to you that the character is behaving inappropriately, time passes and everything is explained to you logically. Every time you want to fuck with convention, they poke your face into the fact that everything is thought out. When you think that the show has missed a detail, after a couple of episodes you will be casually reminded of everything (like a hidden bandage after a knife wound).

It's amazing that in such an interesting setting, what worries you most is not the laws of the quantum world, but how the characters will cope with emotional problems and the problems that have fallen on them. It is so EASY to imagine yourself in the place of EACH of the heroes - whether it be the sexiest Asian woman (Sonoya Mizuno is my passion since Out of the Machine ), the murderous head of security Kenton (that's the same scum), the former main character (Jamie is generally the heart of the series), the genius billionaire ( how fucking Nick Offerman in this series) or his IT people. All the characters are as lively as the serial format can afford.

The last two episodes are just heat. This is such an emotional roller coaster that you want to pause and smoke. Perhaps, if we exclude "Mr. Robot" from the list , then "Devs " is the best thing that has happened to me since the first two seasons of "True Detective" . The story about the fate of a very non-trivial group of characters reveals so many questions that you want to digest the whole thing as soon as possible and revise it again. Alex Garland has directed one of the best filophobic sci-fi stories I've ever seen. It feels like you have read a very dark and dramatic novel, which raises such deep questions that it makes you feel uncomfortable inside because you cannot immediately realize the entire expanse of rushing thought.

I have no idea how it happened at all that such a magnificent thing came out and went unnoticed in the world. When we were all whining about the fact that the movie ceases to shock and leave alone with our thoughts - it takes and goes out, and we look in the wrong direction. The irony is that during self-isolation, when we all withdraw into ourselves, “Devs” came out at the most suitable moment for themselves (except for falling out of the information field). The questions of cinema are raised exactly by those that we need most of all. Are we in control of our lives or are we just observers of a premeditated plot? It's time to make a choice. Life or existence. Evening entertainment or unexpected masterpieces.

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Extraction / Tyler Rake: Operation Rescue (2020)

Extraction / Tyler Rake: Operation Rescue (2020)

Extraction / Tyler Rake: Operation Rescue (2020)

I will not waste time on unnecessary - "Extraction" (the Russian localization of the name again strikes a shame) - this is the best action movie of the new school, released since the days of "Reid 1-2" and "John Wick" . Who made it, how and why - I'll tell you in a separate article.

Watching "Extraction" is a must. Do you like action movies? Look. Fans of brutal mixing, where people are shot in the face with a Kalash? Look. Lovers of watching combat stabbing? Look. Do you like one-man brawls, chases and shootouts? Look. Do you like the good old action movies about a brave hero who mows crowds of opponents into a bloody mess? Look. Love Reid and John Wick ? Look. Love Chris Hemsworth? Look. That's all. Fuck already.

Film director - Sam Hargrave

In fact, "Extraction" uses the good old scheme of "getting from point A to point B, blowing up and killing everyone along the way . It's a bloody explosive run that the inner child of every growing moviegoer misses. At the same time, there are no unnecessary intrigues, romantic lines or pretentious speeches. The movie was filmed in order to entertain and show STYLISH DENTAL ACTION, which has almost no direct analogues.

For drama and heartfelt dialogues, please go to the "drama" heading, here people's faces are put on a rake, and then they joke about the name of the main character on the same topic. When you go to watch a film in which all the emphasis is on unique and jewelery action, the requirement for a twisted plot and dialogue smells a little of deliberate self-harm. It's like in that comic meme, when a dude on a bicycle inserts a stick into a wheel, falls, holds on to his knee and blames politicians for it. Don't do that, leave your inner nerd on the street, let your inner child have some fun.

By the way, even with all the discounts and a simple story, empathy and plot twists are not the most classic for an action movie. The theme of harsh men and their love for their sons is very well intertwined. Maybe Hamsworth's dramatic flashbacks are a bit of stock footage and clichés written by neural networks ... but it works, damn it. Personally, it's easy to buy me - just add a sad ambient, wet eyes on a brutal, prickly face and let a melancholic piano play in the background. All. My empathy works.

Add here, in contrast, an equal rival who calls home and says goodbye to his wife and son before the deadly mission - and in general, the film immediately acquires some kind of soul, but a soul. The plot about the local Pabloescobar, of course, is sewn with white thread for the sake of motivating events, but it does not irritate at all, and in some places even carries away because of the local flavor. The most important thing is that the heroes are not spared here, they screw everyone up, with blood and gaping wounds in their foreheads. The wounds look like real ones, broken noses and stab wounds do not heal at all. Little things like that are extremely important even in entertaining action films - work on empathy.

Total. "Extraction" is a totally unexpected fucking thing for everyone who is dragging along with new trends in the action genre. It's very brutal, it's diverse. The third act loses a little to the first half due to the monotony of the action, but at the same time it does not lower the quality bar, the number of headshots and spectacular fatalities. If you are a true fan of the genre - a simple story (fucking complicated here - no one will answer) you will not be confused. Again - you need to watch for the sake of shootings, murders, headshots, knife fights, chases, fights, reloading, rake in the face, slap in the face of fucks and for the sake of Hemsworth's brutality. This is all there is in bulk.


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Tenet / Argument (2020)

Tenet / Argument (2020)

Nolan's film returned not only viewers to cinemas, but also a review on the ShishKINO website. I will not wait for a second viewing, but I will describe the primary emotions as a keepsake. I have some fears that "Argument" is waiting for the fate of "Dunkirk" , which made incredible impressions in the cinema (or rather in IMAX), and left a feeling of emptiness in home viewing. I would be glad to be wrong, because now about Nolan's new painting I want to say: I have never seen this before, you have never seen such a thing before, NOBODY HAVE EVER SEEN THAT.

ABM "NO SOUL "

It's easier to start with the minuses, so that later you can coat the film with honey and delight. I don’t know how it sounds in the original, but in dubbing these are the dumbest dialogues in Nolan’s career. Someone calls them pretentious, but I would give a more precise definition - they are lifeless. As if they were written by a neural network, and not by a living person. Everything with them is so strange and bad that sometimes it causes sincere laughter. Mostly scenes with the main character and the villain's wife - this is where the face stretches into a grimace of " what the fuck" . In addition to the strange remarks, all this is also assembled in a very strange way, in some kind of broken rhythm, broken dynamics. However, there is a reason for all this - Nolan is more interested in the method of storytelling, and not the story itself. I'll talk about this later.

The second point worth mentioning is the absence of a “soul” and living people in history. Except for Neil (Pattinson's character), absolutely give a fuck. Especially the wife of the main villain is the weakest link in the picture. I want to immediately forget her remarks and actions, and throw out most of the scenes with her participation from the timing. Kenneth Branagh, they say, in the original sounds like a boch with his Russian accent, but in the dubbing everything is somehow past. A charismatic bastard, no doubt, but he performs exactly the same function as the rest. All of the actors play the director's dummy roles so that Nolan has the opportunity to have fun to the fullest.

ABOUT IMPRESSIONS

There is a HUGE nuance in all this. "Argument" is an attraction. In the best sense of the term. Anyone who wants an emotional return from the characters and the story, to get a charge of empathy and their own piece of drama - go to hell, because Nolan's new film is about cinema experience, about cinema sensations, about cinema emotions, but of a completely different order. In fact, purely for a theatrical session - it still does not affect the sensations in any way, but on the contrary. The viewer is not distracted for a second by thinking about the feelings of the characters, because all that interests the film itself is to fuck our previous experience of watching a movie. "Argument" copes with this the way no one has ever.

I don’t remember at all that I sat for so long with my mouth open and with a contented smile all over my face from contemplating what was happening. Perhaps the last time this happened to me was in 2007, when I first watched Transformers on the big screen. I will even say more. When an important plot twist takes place in the middle of "Argument" and the film turns into a completely new format, my friend Artem Remizov (who had already seen the film before) whispered in my ear: "Now you will be looking at this game for another hour and twenty minutes." These were some of the best words I've ever heard in a movie theater. The realization that this UNIQUE experience had just accelerated made me the happiest person in the cinema.

This year I completely lost my faith in modern genre cinema and started studying the classics. Dived back in time, so to speak. “Argument” gave me back my inner child film lover, when I wanted to scream every few minutes and thank all the gods for creating cinema. The last time I experienced something similar (but slightly weaker) was on my first viewing of Blade Runner 2049 . When you watch a movie and constantly break into a contented smile with the thought "what the hell are the filmmakers, thank them for that . "

Nolan has repeatedly stated that the basis of his painting is escapism. That is why it was important for him to shoot everything on location, test different parts of the world, show the audience what they had not seen before. Starting from windmills on the water, ending with sports riding on tricky bathing sailboats. The director drew on his personal experience from watching old Bond films, which immersed viewers in different worlds and carried them through new adventurous and breathtaking experiences. Magic, fuck, pure cinema.

ABOUT MUSIC

It is especially important to experience this experience in the cinema, because it is there that you can feel one of the main features of the picture - the SOUNDTRACK. I was very worried when I learned that Zimmer could not work on the picture, but during the time you realize that the best outcome of events happened. More powerful than what Ludwig Goransson wrote (a young talent who took an Oscar for the sound of "Black Panther" ) is simply impossible. Music in Dovod is a separate film experience. She is huge... Like a concrete slab, it presses firmly into a chair and does not let you breathe. To be honest, it is precisely because of the feelings that the soundtrack evokes that I want to re-watch the movie in the cinema. Especially during the robbery of the gallery (composition "FREEPORT") and on the scene of the chase with a fire engine (composition "TRUCKS IN PLACE").

PRO ACTION

Because of the director's love for location filming, not the most (in theory) spectacular scenes acquire a fucking WOW effect. It would seem, how can you surprise the modern viewer with the explosion of an airplane in the frame? Nolan knows how - buy a real Boeing 747 for a movie and fuck it up in a real airport. It would seem, how can you surprise with an ordinary chase? Nolan knows how - he takes and flattens real cars with the help of a couple of trucks and a fire engine and films it all live. The very first fight with a reverse opponent is fucked up. As a fan of combat choreography, this scene simply destroyed me at all levels. Lost speech, stopped breathing, heart pounded to the rhythm of the soundtrack. The spirit was captured in the same way as the fight in the corridor in zero gravity from "Inception"... The case when you see something new and unique for the FIRST TIME. Previously, it seemed that modern cinema has gone so far ahead that nothing can surprise. How wrong I was.

I would like to say a little more about all these chips with reverse and temporary freaks, but this is simply pointless. Whoever has seen it knows everything and so, and whoever has not, will not understand. Nolan just rolled the eggs onto the table and said "the directors of everything are your move . " The dude took and closed the directing to dicks. Conquered life. Because doing such a confusing and technical fuck is simply impossible, unless you are Nolan. I'm not sure that the audience in general will be able to appreciate all the coolness of this technique, but fortunately, I'm one of those who were not just impressed, but kicked on the head.

Of course, not all of Nolan's action is great. Some spoilers.
At the end of the film, a magnificent crowd scene takes place - a war that takes place in two times at once. It is very unique, it is large-scale, no one has ever done this before ... And yet there is one bold nuance that fucks the entire potential of the scene, which will prevent it from going down in history. There are no Opponents in this war. The two squads simply run and shoot in the air and at empty buildings. It felt like it was all like an airsoft training ground in which crowds of men run and imitate an epic battle. Throughout the scene we were shown two corpses of opponents and two shooters in the windows from afar. That's all. You admire the whole scene with the direction, but in the story you ask yourself the question "who are they fighting with, then the fuck?"

ABOUT THE SPECTATOR

At the "argument" clearly will be a big problem with reviews. Because of the delight of some, there will be shit stuffing from others. It just so happened that we have before us a rare beast - a blockbuster for nerds, which will be hated by the masses, for whom the blockbuster actually exists. It's not about the snobbish "all viewers are stupid", it's just that "Argument" refers to the type of paintings that you SHOULD look not only with your eyes, but also with your head. I'll explain more clearly. Nolan always gives answers in his works before asking questions. So that this or that scene in the second half does not seem complicated or incomprehensible, you need to keep in mind every dialogue, every scene or detail from the first minutes, so that everything comes together.

I (like many movie buffs) have no problems with this approach to viewing at all. On the contrary - I love it when the viewer is NOT held for an idiot and given the opportunity to deal with everything on his own. In "Argument" a lot of answers are scattered in advance so that you can come to an understanding of the plot twists before they happen. For example ( small spoiler ), during a fight in the vault, a twist is easily read, which will be explained in the film only an hour later. And you don't need to be smart to read it, you just have to look carefully and keep all the information received in your head.

If you watch "Argument" analyzing everything that happens, then it will seem as simple in its plot as any other Marvel blockbuster. If you watch it with your brain turned off (which is usually required by a modern popcorn studio film), then you can break down somewhere in the middle and then tell your friends that it's fucking incomprehensible and in general there is no soul in the film. Don't be ungrateful and inattentive spectators, gentlemen. Watch the movie with your head, not your eyes.

TOTAL

"Argument" is a director's fuck. In all senses. One of the most unique genre directors of our time took and said "look as best I can" . He totally does not care about the emotional component of the film, it is important for him to plunge the viewer into a never-before-experienced feeling and temporarily change the perception of reality. Even the very fact that the main character is called that - Protagonist - says a lot. Nolan needs this story and these characters only to have something to tell. The main goal was to remind viewers that cinema is magic that takes you to unknown worlds and gives you a unique emotional experience.

Thanks Nolan, I again believe that cinema can still amaze. Argument is a very vivid reminder of why I fell in love with cinema when I was a child. It took me a few minutes to leave the cinema to accept the fact that I live in a normal world without time distortion. If you don't go to the cinema for such shocks and emotions, then why the fuck should you go to it at all?

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Хищные птицы Потрясающая история Харли Квинн», «Офицер и шпион», «Темные воды» и другие киноновинки

Хищные птицы Потрясающая история Харли Квинн», «Офицер и шпион», «Темные воды» и другие киноновинки

«Хищные птицы: Потрясающая история Харли Квинн», «Офицер и шпион», «Темные воды» и другие киноновинки недели



Подробнее о фильмах, которые можно посмотреть в российском прокате с 6 февраля, — в нашем обзоре.





Главной киноновинкой этой недели бесспорно можно назвать комикс-блокбастер «Хищные птицы», рассказывающий о команде героинь, решивших очистить Готэм от преступности. Парадоксально при этом то, что одной из них становится экс-подруга Джокера Харли Квинн, имя которой связано больше с хаосом, чем порядком. Кроме того, в прокат выходит несколько исторических драм о борьбе за справедливость – французская «Офицер и шпион» с Жаном Дюжарденом и американская с Марком Руффало. Если же вам больше по вкусу фестивальное кино, то стоит отправиться на первый европейский фильм режиссера нашумевших «Магазинных воришек» под названием «Правда» или же посмотреть документальную ленту о Квентине Тарантино – перед «Оскаром» это как нельзя кстати.



В 2016 году студия WB выпустила в прокат комикс-блокбастер «Отряд самоубийц», рассказывающий об отряде преступников, которых правительство наняло, чтобы разбираться с нештатными ситуациями. Картина, несмотря на крайне смешанные отзывы публики, собрала в прокате более почти 750 миллионов долларов, что сделало фильм кассовым хитом. Кроме того, в ленте засветилось сразу несколько культовых персонажей в новом исполнении. Внимание публики приковала в том числе влюбленная парочка, состоящая из Джокера (Джаред Лето) и Харли Квинн (Марго Робби).



В картине «Хищные птицы: Потрясающая история Харли Квинн» продолжается история героини, правда на этот раз действует она без помощи кавалера. После расставания с Джокером Харли решает начать новую жизнь, однако сначала ей приходиться расквитаться с кучей врагов, охотящихся за ее головой, а заодно найти неожиданных союзников. Кроме того, Квинн приходится заботится о девочке-подростке, которая оказалась втянута в бандитские разборки и украла крайне ценный бриллиант у одного из самых опасных преступников Готэма (Юэн МакГрегор). В общем, экшена на больших экранах будет хоть отбавляй.



Трейлер фильма «Хищные птицы: Потрясающая история Харли Квинн»








Новый фильм Романа Полански «Офицер и шпион» был представлен на Венецианском кинофестивале и завоевал сразу несколько наград, включая «Особый приз жюри» и премию ФИПРЕССИ. Картину встретили бурными овациями, а некоторые критики назвали проект «мастер-классом по съемке исторического кино». В основу сценария легла реальная история безвинно осужденного за шпионаж Альфреда Дрейфуса. Судебная тяжба по этому делу длилась несколько лет, затронула практически все слои населения Франции и широко обсуждалась за рубежом.



В «Офицере и шпионе» ключевые роли сыграли маститые Жан Дюжарден и Луи Гаррель. Второстепенные партии достались не менее звездным артистам: Эмманюэль Сенье, Матье Амальрику, Мельвилю Пупо и другим. В целом стоит констатировать, что у создателей получилась достойная внимания историческая процедуральная драма, отлично иллюстрирующая события, оказавших внимание на многие европейские государства, а также способная погрузить зрителя в атмосферу Парижа конца девятнадцатого века. Подробнее о фильме читайте в Нашей рецензии.



Трейлер фильма «Офицер и шпион»



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Еще одной драмой, основанной на реальных событиях и рассказывающей о человеке, пошедшем против мощной структуры, является американская картина «Темные воды». В центре сюжета оказывается юрист Роберт Билотт, который узнает, что руководство химической компании «DuPont» на протяжении многих лет совершало преступления, загрязняя окружающую среду выбросами кислоты, вызывающей онкологические заболевания у людей и гибель скота.



Титульную роль в проекте исполнил Марк Руффало, который за свою игру был номинирован на премию «Спутник» в категории «Лучшая мужская роль в драматическом фильме». Компанию ему составили не менее именитые звезды, включая Энн Хэтэуэй, Билла Пуллмана, Тима Роббинса и других. Режиссером проекта стал постановщик «Бархатной золотой жилы» и «Вдали от рая» Тодд Хейнс.



Трейлер фильма «Темные воды»



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Франко-японский драматический фильм Хирокадзу Корээда (режиссер нашумевших «Магазинных воришек») под лаконичным названием «Правда» был показан на Международном кинофестивале Венеции в рамках «Основного конкурса». Эта камерная история рассказывает о тщеславной звезде французского кино (Катрин Денев), написавшей автобиографическую книгу, которая совсем скоро поступит на прилавки книжных магазинов.



Выход романа – в которых из откровенного только ложь – сильно ранит дочь артистки Люмир (Жюльет Бинош), а потому на протяжении полутора часа на экранах разворачивается вулкан страстей. За противостоянием двух сильных женщин наблюдает супруг Люмир Хэнк (Итан Хоук), который, впрочем, не слишком часто пытается вмешаться в их давний конфликт.



Трейлер фильма «Правда»



В преддверии «Оскара-2020», на котором новый фильм Квентина Тарантино «Однажды… в Голливуде» имеет неплохие шансы отхватить сразу несколько статуэток, в прокат выходит документальная лента, посвященная режиссеру. В создании проекта приняли многие голливудские звезды, которым посчастливилось работать с мэтром. Некоторые из них в принципе смогли достичь таких высот благодаря тому, что снялись в лентах постановщика. «Однажды… Тарантино» прольет свет на неизвестные истории из жизни постановщика, а рассказчиками выступят Сэмюэл Л. Джексон, Кристофер Вальц, Дайан Крюгер, Джон Траволта, Курт Рассел, Джейми Фокс, Люси Лью, Тим Рот и многие другие.



Трейлер фильма «Однажды… Тарантино»

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Хищные птицы Потрясающая история Харли Квинн, Birds of Prey And the Fantabulous Emancipation of One

Хищные птицы Потрясающая история Харли Квинн, Birds of Prey And the Fantabulous Emancipation of One

Хищные птицы: Потрясающая история Харли Квинн



Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn



Хищные птицы: Потрясающая история Харли Квинн



Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn



Хищные птицы: Потрясающая история Харли Квинн



Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn




      Страна: США


      Год: 2020


      Жанр: боевик приключения криминал


      Продолжительность: 109 минут (1:49)




      Премьера (МИР): 7 февраля 2020


      Премьера (РФ): 6 февраля 2020


      Прокат: Каропрокат


      Рейтинг MPAA: R


      Возраст: 18+




      Бюджет: $100 000 000




      Режиссер: Кэти Янь


      Сценарист: Кристина Ходсон Грег Ланд .


      Продюсер: Марго Робби Дэвид Эйр .


      Оператор: Мэттью Либатик


      Композитор: Дэниэл Пембертон
























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После расставания с Джокером, Харли Квинн (Марго Робби) объединяется с другими супергероинями Черной канарейкой, Охотницей (Мэри Элизабет Уинстед) и Рене Монтойей, с целью спасти маленькую девочку из рук злого босса мафии.



• Кэти Янь – первая азиатская постановщица супергеройского фильма.



• Сыграть одну из супергероинь предлагали певице Леди Гага.



• Сэм Рокуэлл мог сыграть злодея в «Хищных птицах».



• В комиксах DC основательницей команды "Хищных птиц" была Бэтгерл. При этом Харли Квинн никогда не была членом их группы.

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