In the Russian box office – the continuation of “Halloween”, a biopic about a cat-lover artist, Sergei Bezrukov is having an affair with a Nazi in the Pushkin Museum, a cartoon about a broken robot, a directorial debut by Daniel Bruhl, a new thriller by Joe Carnahan, “The Return” by Pedro Almodovar.
“Halloween is killing”
As you can imagine, in no fire did Michael Myers burn down in the final of the previous film. Because Michael Myers is immortal, and also because you can’t just take and not continue the franchise, since the fanbase so happily devoured the replica of the original 1978 modernized with feminist pathos.
In the new part of the restart, feminism gave way to a hysterical social group. Now Laurie Strode, played by Jamie Lee Curtis, just walks in the hospital and whines while Myers continues to create bloody chaos in the town. Meanwhile, not indifferent townspeople are going to end the lawlessness and without hesitation decide that spontaneous lynching of the first mentally ill person who comes across can help in this. Thus, the authors edifyingly teach: this is how, they say, a quickly frightened crowd falls into a bestial state, in a matter of seconds completely losing the last remnants of reason.
In general, adding newfangled socio-political shades, “Halloween” by David Gordon Green still observes the main tradition of the line: unkillable absolute evil in the person of the brutal Michael Myers (just in case, his nature will be explained out loud, if you suddenly do not understand until now) again arranges chaos in the sleepy kingdom of idiots to the wonderful music of John Carpenter. The fans, however, don’t need any more, which was shown by the success of the 2018 film. And, undoubtedly, the sequel fees will be confirmed.
“The Cat Worlds of Louis Wayne”
A touching biopic with Benedict Cumberbatch about the difficult life of the famous English illustrator, well known to any real cat lover.
The young eccentric who supported his sisters married the governess (Claire Foy), instantly becoming an outcast in the conservative Victorian society. But he continued to support not too grateful relatives. The youngest will later become violent and go to an insane asylum.
Louis himself will also discover serious mental health problems by the end of his life – he is diagnosed with schizophrenia. However, the artist demonstrated characteristic oddities earlier. Although we would not have seen his famous anthropomorphic cats without them.
An extremely successful biographical film for our times, filmed with great love for cats and their main popularizer in England. In the company of the magnificent Cumberbatch and the charming Foy – Toby Jones, as well as Nick Cave in the small but sparkling role of HG Wells.
Igor Ugolnikov, whose production talent many are grateful to for “Brest Fortress”, almost universally recognized as one of the best post-Soviet films about the Great Patriotic War, again turned to a delicate topic, this time as a director and scriptwriter. And, I think, a significant part of his audience of “Learning Fruits” will disappoint.
The scene is the house-museum of Pushkin occupied by the Nazis in Mikhailovsky. Among the invaders is a young Frau by the name of Schiller (Nastasya Kerbengen), according to a family legend, from the descendants of the great German poet, a professor of literature, with anxious attitude to the Russian classics. She patiently explains to her superior uncouth warriors that even the Untermens had a great art that should be respected and protected. The trouble is that Russian felt boots themselves do not value their treasures, except perhaps for an elderly married couple of caretakers (Ugolnikov and Anastasia Melnikova), who are ready to make a humiliating deal with Satan himself to save the museum. Take, for example, the character of Sergei Bezrukov, whose name is also Sergei. Jack of all trades, clever, talent. And the electricity will return, and the piano will be repaired. Imagine, he can’t read. That does not prevent Frau Schiller from succumbing to simple peasant charm.
Fondness for the local rural ladies’ man, fraught with serious troubles, is not the only problem with the blond Aryan Valkyrie. She openly infuriates the authorities with her “Russophilia”, in every possible way opposing attempts to take out from Mikhailovsky what has not yet been taken out. Because her goal is noble – to teach the natives to appreciate their geniuses. And the aborigines, including the partisans who have settled nearby, are still imbued with this idea, causing Frau Schiller and the young Supreme Command officer Dantes (yes, the Wehrmacht officer Dantes, Frau Schiller alone is not enough) a lot of trouble.
It is likely that this story, clearly conceived to remind compatriots of important things, would not have caused such irritation, bordering on bewilderment, if it had not been placed in the still hypersensitive context of the Second World War. But she is placed.
The new cartoon from the studio 20th Century Fox is trying to find a universal formula for raising kids during the technological boom.
The action takes place in the near future, where instead of a smartphone, every student has a bi-bot, a kind of mixture of android and gadget. Only Barney, a boy from a poor family of Bulgarian immigrants (we owe this fact a considerable amount of rough Eastern European cranberries), does not have it. Because of this, the hero feels – and indeed is – an outsider at school.
Once his loser dad still somehow manages to get his son a coveted toy. Only it turns out to be faulty – it does not connect to the Internet, and, accordingly, cannot download important updates. And in general, she does not know how to do much of what she should. But gradually Barney begins to understand that his Ron’s defects are, as they say, “not a bug, but a feature.” Because it is the shortcomings that are the defining sign of a full-fledged personality.
Thought, in general, is understandable, and “adult” science fiction has already been chewed many times. It is also understandable that the authors are concerned about the excessive enthusiasm of young generations with ephemeral symbols of success in the form of friends and views with likes. But the transfer of the problems of roboethics to communication devices that are understandable to young people still looks like a dubious undertaking. Add to this a lot of vulgar humor (for every funny joke – five nasty ones), very mediocre graphics and an inconsistently functioning world – and good intentions finally fade.
43-year-old Daniel Bruhl, one of the most successful German actors of our time (“Goodbye, Lenin!”
One of the two main roles – his namesake and his colleague – he plays himself. A successful actor walks into a bar outside his house before heading to the airport – on the prow of a superhero film audition in London. At the counter sits a man named Bruno – Peter Kurt (“Babylon-Berlin”, “Between the Rows”) once again plays a character with this name. Bruno stares at the star and forces him into dialogue. He soon realizes that the new acquaintance knows frighteningly a lot about his personal life. And it was not by chance that I found myself in this bar. So you will have to forget about a trip to the British Isles.
In his first directing experience, Brühl painfully reflects on the many pitfalls in the life of a movie star and, not without melancholy, snickers at the crisis the industry has driven itself into. They had a great duet with Kurt, which is critically important for such a chamber production. It turned out to be a really strong and intense psychological thriller.
“Good, bad, cop”
Joe Carnahan, author of Team A, Smokin ‘Aces, Skirmish with Neeson and the recent sprightly entertainment “Trigger Day”, has shot a new thriller Copshop (we owe the “creative” title to the distributors, of course). than last time, mine, but not without recognizable notes of crazy fun.
Two murky types (Gerard Butler and Frank Grillo) are brought to the police station one by one, and both quite frankly begged for imprisonment. Naturally, they find themselves involved in one very dirty story with serious people and big money. Therefore, after a while they are visited by a reckless guy played by Toby Hass, and a modest police station in a small town is covered with a bunch of corpses. A tough and unwaveringly honest officer (Alexis Loder) has to handle all this chaos.
A cheerful, dashingly twisted thriller with cool actors and a tangible dose of black humor – Carnahan connoisseurs have no right to pass by.
The director (s) Celine Syamma won two awards at the Cannes Film Festival in 2019 for the dull lesbo drama Portrait of a Girl on Fire, and her second film, Little Mom, entered the Berlinale competition, however, without any prizes. Although at least in one way it is prettier than its predecessor – it lasts only 72 minutes versus two hours.
Eight-year-old Nelly did not have time to say goodbye to her grandmother, who died in a nursing home, and is very worried about this. Her mother is even more worried – having arrived with her husband and daughter to the house of her childhood, she runs away somewhere to suffer. Nelly wanders through the surrounding forest and meets there a girl who looks like her as two drops of water (they are played by twins). It is not difficult to guess who this girl is from the title of the film. And soon there is an acquaintance with the young version of the deceased grandmother. And at least in this format, these three manage to get closer, despite the fact that everything around is just as sad and depressing.
How this becomes possible – don’t ask. Why – don’t ask either. In any case, it’s hard to deny that somehow a malevolent patriarchy is definitely to blame for the troubles of the heroines (and the hero).
Two sisters travel across America to a nursing home to get their grandmother out of there, otherwise someone will infect her with the coronavirus. Much of the humor of this utterly ridiculous road movie comedy is based on the panic that gripped the world in the early days of the pandemic. Plus a string bag of flat genitourinary jokes performed by disastrously uncharacteristic heroines.
For lovers of domestic concentrated chernukha – following the hopeless film about a 14-year-old mother from the provinces, we meet a hopeless film about a student from the provinces forced to earn money by striptease and occasionally – something worse. The girl is trying in this way to feed not only herself, but also her mother, who gave up strongly after her husband left for another woman. Moreover, this bastard periodically falls into the drunken family of his former family, telling how he really loves them, and who knows what he is trying to achieve.
The heroine is studying to be a sociologist and, as part of her practice, conducts opinion polls. The people to whom she comes are poor and unhappy, but they tend to answer in the affirmative to questions about well-being and happiness – this is how the “slave mentality” is manifested.
In short, Natalia Kudryashova showed us a textbook genre model with her second film (in her debut film Pioneers-Heroes, she studied the sexual trauma inflicted by Soviet childhood).
One of the most famous films by Pedro Almodovar, 2007 Oscar nominee for Best Actress, winner of the Cannes Film Festival for Best Actress (the actresses received a collective prize) and the Golden Eagle for Best Foreign Film).
In the main role – of course, the favorite of Pedro Penelope Cruz. Fighting and grasping, Raimunda drags the family, consisting of a young unemployed husband and daughter from another man, until an extremely unpleasant incident turns everything upside down. Meanwhile, Raimunda’s sister is their deceased mother, with whom she had a difficult relationship.
A film-reflection on the past – both personal and creative, with the director’s characteristic humor and the sudden disenchantment of magical realism. The fans of Almodovar are delighted.
Also in the cinema: Russian melodrama “Danube”, the Russian drama “Noise”, documentary “Savior for sale”, opera recording “Fire in my soul”.
Read about other recent premieres in our materials.