Turns out that not all of the films cut on charges of rape of young people Kevin spacey: in theaters based on true events crime drama “the billionaires Club” with his participation. Also: indie-horror with the cult and the castration and sci-Fi-romance with sex robots.
1983. In the lobby of one of Los Angeles hotels meet by chance two classmates at the Harvard preparatory school — both that it chestlet: Joe hunt (Ansel Elgort) captivates potential customers of his brokerage talents, and Dean Carney (Taron Egerton) tries to sell another, much more secure than both of them, a former classmate Corvette. A short dialogue, a joint session of humiliation at the party of the rich peers, random article in Time about the success of the Steve jobs (the only slightly older than the two protagonists) — and Joe Dean and I decide to take destiny into their own hands and as soon as possible to put together your own capital. Why collect in one room all of his rich friends, as the selection represents a rich California family, and don’t use financial confidence of parents, and presenting their big idea — the BBC (read as Billionaire Boys Club, that is “the boys Club of billionaires”), both investment Fund and elite club, with fabulous profits from investments and reputational dividends from unprecedented in Los Angeles of the 1980s, of Flex. The solidity of their idea adds support and capital of the investor-playboy Ron Levin (Kevin spacey) is the only one in this club pontorezov who know: the BBC is nothing like a pyramid scheme.
In the world of HYIP, Flex and bling that we live in 2018, it is not surprising that Hollywood re-unearthed the real story of young adventurers, whose race for the American dream in the early 1980s, first impressed the whole of Los Angeles (the party girls and mountains of cocaine in the frame, be sure to get not once, not twice), and then turned bloodshed, loud court and a life sentence. A few more striking here is the presence in the frame — and even in the movie with the same name, which in Russian localization prudently disappeared the word “boys” — Kevin spacey: well, all the same cut disgraced artist of all games played before the scandal with the rape of roles would be too, perhaps, expensive. Especially that spacey is only one (albeit, perhaps, the most as an actor is bright) of the colour that Director James Cox suggests this material heighten the flavor. Alas, it was the color, a bold exotic world of big money and big waste of beautiful girls and smuggled BMW, selfless nekoogar and not cheap show-off and remains the main “Club of billionaires” — this film confidently glides over the surface of the history of the hunt and Carney, visibly slipping into clichéd shaking the air, even when the story transformirovalsya in tragedy. For the paintings allegedly criticizing the pernicious temptations of capitalism approach, to put it mildly, hypocritical.
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“Remember the good we had shared meals in the commune?” — Aron (Aaron Moorhead) his brother Justin (Justin Benson), Recalling his childhood and youth spent in an isolated community in southern California. Justin remembers and adds: “And you yourself, brother, remember that actually all the men in the commune had to undergo ritual castration? I remember how I miraculously pulled out?” True, however, that both brother since fleeing from the mysterious sect of California are pretty miserable, dull life, and, therefore, not long thinking over the idea to return to where it grew, especially because they just came in a videotape that shows members of the cult proclaim the imminent Ascent.
In the place of Aaron and Justin are waiting for, of course, not all stoned all the varieties of psychedelics and stimulants hippies-alarmists — but something terrible. Here flocks of birds persistently put in the sky circles. Now long out of service cordless phones suddenly start to broadcast threatening messages. Here rises from the dead hanged man from the sect. Here, it seems, did begin to break the fabric of reality itself. The less you know about the plot of “Paranormal” — the better.
But the paradoxical fact that does not the story is the main value of this film. Not having a large budget, Benson and Moorhead give a full-fledged master-class technical direction — using only camera movements, the nervous Symphony of the soundtrack, an inventive mounting turning crazy plot twists in convincing. Behind genre horror tricks “Paranormal” and really scary, almost existential morality — the idea that in search of a place that you can call home, some, why, many people visit not only full of madmen and junkies sect, but on the other side of existence.
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the Future is now — but people still suffer from the unhappy, unrequited, lost, troubled (and the list goes on) love. Among those who labor in the field of assistance to all victims of romantic agony, there is a startup from Toronto called the Relationist. Its main audience he is attracting the algorithm calculates the compatibility of lovers, but will bring to market some new developments of his chief engineer Cole (Ewan McGregor in horn-rimmed glasses).
First — the substance for a short time, simulating the effect of love euphoria. The second invention is even more interesting is indistinguishable from humans robots-synthetics created with a single purpose: to be the most faithful lovers, are not able to squander programmed in a sense to the buyers. “I’m not leaving you ever,” explains to dull the presentation of a synthetic prototype ash (Theo James), of which Cole was programmed in whatever was the love of my nearest companion at startup Zoe (Lea seydoux). Zoe, however, stubbornly leering at the Cole’s and starts something to suspect about their own, is not as straightforward as it seems, one has only to glance at the vital silhouette Lea seydoux, nature.
What love is — and what awaits it beyond the cutting feeling in the world of the future? Drake Doremus does not get tired to develop this subject here already three films (“Zoe” is a more or less complete, at least on the level of style, trilogy with the previous sci-Fi-melodrama of Doremus “Equal” and “Novelty”) — and now three movies of his noble, no doubt, the ambitions of the collapse of a failed implementation. Doremus spends a lot of time — and imagination — to create on the screen remotely interesting vision of the future, but he is not interested in the depths of the human soul, preferring to slip complex issues, simple answers, to avoid genuine autopsy of love-like feelings for sliding the camera on the romantic lit of the acting persons.
no matter How profound ideas about the vicissitudes of creating artificial intelligence can cover up Zoe, it’s impossible not to wonder, not whether repeatedly voiced in the frame of thought about the feelings of both people androids rudimentary disguise — beneath which lies a centuries-old false platitude that eternal happiness destroyed, failed relationships were separated by only one variable. That, however, require a film that manages to put a brake on the emergence of Christina Aguilera role fucking a sex robot? Sounds like his script was written and he signposted conveyor with a synthetic.
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