In theaters — the first in five films tour silbergasse dinosaur outside of Jurassic Park (and including the territory more familiar from the horror). In addition: film Kirill Serebrennikov Choi and Naumenko drove from Cannes to Russia and Amy Schumer did not find any of his comedic talent to the film.
After the bloody collapse that befell Jurassic Park in the finale of the previous series, owning is not as entertaining as expected, the island Corporation is trying to reduce losses. Situation — recall wandering around the Park hungry dinosaurs is somewhat complicated by the fact that the island is a new attack — the eruption of a dormant volcano centuries, threatening the giant reptiles new extinction. So, dioactivity Claire (Bryce Dallas Howard) and the coach velociraptors Owen (Chris Pratt) — of romance between them, which hinted last film, by the way, never happened — it’s time to return to fill with lava Park. Fortunately, this time, though, Claire is sent into the Inferno not on the heels!
it is Clear that the fifth twenty-five years the film set of scenes around once carried Steven Spielberg ideas to revive under dvuhsotletnego summer blockbuster dinosaur has somewhat dried up. “Jurassic world 2” so shamelessly recycles has repeatedly proven franchise motives. Again muddy genetics bring to the arena pumped superlinear (“Jurassic World”). Again emerges to the forefront the conflict between defenders of wildlife and the conservatives from eco-activism (“Jurassic Park: the Lost world”). Again, the case brings next with the main characters, a motley band of secondary characters (more or less). So the main advantages of this blockbuster movie are likely to entertainment part — the more that adopt Colin Trevorrow directing duties Juan Antonio Bayona skilled first of all in this plan. He, for example, during cruising already trampled the previous paintings site could one absolutely brilliant scene in it, the camera circling between running from the lava flows of dinosaurs and humans. But the main contribution of Baiona is the increased concentration of horror, especially noticeable in the third act when the action finally leaves the damn island, and the degree of bloodshed and dismemberment in the frame increases. This franchise has always had some tendency to sadism, but reptiles, sneaking to the person right in the house while did not show — well, at least something new.
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Renee (Amy Schumer) lives in new York, working in companies engaged in manufacturing luxury cosmetic and desperately hates himself. The reason? Looks, to put it mildly, different from the stereotypical ideal of beauty — and, as a consequence, terribly low self-esteem, because of which the girl fails to dislodge a promotion at my job (or at least moving away from unsightly back office on the outskirts of Chinatown is shiny with all shades of vanity corporate head office in Manhattan), or find a boyfriend. In order to gain any kind of perspective on both fronts, Rene stands on a pretty traditional path of self-improvement — and it goes to a fitness club. Not the best solution: first you have to survive the humiliation when at the counter with sneakers hire is its size (too wide foot!), then shes hurting genitals, when it almost falls through the simulator, and to top it off, to crash down right in the middle classes in spinning — so much so that the blow to the head Renee loses consciousness. Poor thing will Wake up a different person is absolutely convinced of his irresistible beauty. Life will start to improve — to a certain limit.
there are Few of Komedianta causing the audience as polar reactions as Amy Schumer — the audience does not experience allergies to her appearance, often can’t bear a signature, unabashedly honest and not ashamed of even the most ribald vulgarity of the humor. However, as proved released three years ago, “Girl” Judd Apatow (the script is the godfather of modern Hollywood Comedy was written together with the actress), is immense — in terms of coverage of topics and the absence of barriers — persona-Sumer, it is possible not only to fit into the framework of more or less traditional comedies, but it can help to give a drooping lately, the genre of new, often unpredictable and absurdist energy. Unfortunately, “the Beauty on his head” to go in this direction is not solved to the script the Sumerians had no relationship, and the filmmakers Kohn and Silverstein instead to trust the sense of humor of its star, enables the artist (and her colleagues at the frame, including Naomi Campbell and Michelle Williams) solely as a function of, the sequel to her appearance and basic comedic reactions. Moreover, Kon and Silverstein not very interesting not only the Sumer, but her character — she has no distinct biographies, nor any of the interests or tastes, or even of the family: so the Directors, it is easier to articulate the simple message that they your movie down, and which, according to their logic, should be persuaded to value themselves and reject the modern world imposed stereotypes of the imaginary audience (or spectators). The problem is that denying her character in depth, they in essence do the same thing with the audience, believing themselves entitled to the latest condescending lecture. But Comedy by its very nature has the right to be anything — but not didactic.
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Leningrad, the beginning of the 1980s, summer, “Summer”, the song Mike Naumenko (Roma Zver), propevia by the author himself on guitar, Vino and girly sighs at the fire. Mike is already quite a star rock-n-roll (and even a member of the Board of the local rock club!): my wife Natalia (Irina Starshenbaum) in response to the jokes of his comrades proudly renounces Jagger: “Mick, Why should I when I have Mike?”. Jagger on the Gulf coast, where Naumenko rests with the company, in fact, and not seeking — as opposed to a pair that long-haired youths, familiar with Punk (Alexander Gorchilin the man charged with the frontman of “Automatic satisfactory” Andrey Panov). Victor (Theo Yu) and Leonid (Philip Avdeev) have guitar, a couple of bottles of Moldovan and of his own composition: soon Choi sings “Slacker” and “My friends”, and Mike will love his songs, and his wife Natalia — the Victor. The history of this pretty chaste in fact a love triangle and serves the film by Kirill Serebrennikov basis on which the second layer rests the portrait of the heroes of the era. Leonid Brezhnev on television and Blondie T. Rex in the tape, the seminar is open to young and KGB men, appartment and alcoholics, longing for jeans and cry for freedom, BG (Nikita Efremov) with the cat on his shoulder — and the distinctive, romanticized and priukrasil shabby Brezhnev’s Leningrad black-and-white wide-angle, operator Vladislav Opelyants.
to understand how to work with the audience or that movie, however, you need to ask the question is not “what” but “how.” Well, if in the previous film “the Apprentice” pieces of silver as if wielding a hammer, mercilessly nailing to the cross, not so much Russian life much of the audience, the “Summer” already looks like it had been embroidered with a cross. Heroes don’t so much speak as purr — occasionally of himself, a little more of his time, but mostly it’s more about music and foreign idols. Profusely voiced in the frame and behind the songs of Tsoi and Mike are complemented by musical numbers on the composition of these idols don’t have time to go through half an hour of screen time, and the nameless old woman from suburban trains will be sepeti “FA-FA-FA-FA” by participating in the performance of “Psycho Killer” Talking Heads. “Summer” tends to embrace all and Brezhnev (“spring has Passed, summer came, thank you for this party”, — will mint have gone into the movie for a few scenes Liya Akhedzhakova), and Crest, youth and rock-n-roll but on anything doesn’t linger for long, preferring not to immerse yourself in a bygone era, and on my tiptoes waltzing around on the surface. There is even and pre-Fig potential critics of the film: in the frame and then comes in, speaking directly to the viewer, the character identified in the credits by the Skeptic (Alexander Kuznetsov), with a sign “This really wasn’t” and cynical remarks ready. “Not like that” — says he’s the first close-up playing of Choi and dubbed by an unknown Russian artist Korean Theo Yu.
All this mnogogolovy, polyphony embodied in the “Summer” at the level of form, however, quickly reveals the main problem of the film — and it is not even about the frivolous, romanticized the idea of stagnation of the 1980s (which, by the way, recognized the handwriting of the writers Michael and Lily Udovich, about the same starry-eyed voobrazila 60s in the TV series “the Optimists”). Despite the obvious tenderness with which the authors of the “Summer” stare at their characters (and which more or less redeems even the lack of acting skills Roma have a Beast), it’s hard to escape the feeling that the pieces of silver, and the company simply afraid to really be interested in Tsoi and Mike. They seem not to trust his own characters — and all the time slips to your like and so not lame picture crutches: prop up the “Movie” and “Zoo” Bolanos with Lou reed, condense the music of the musical, not noticing how their movie starts not like to give “Hipsters”, substitute revelation chatter and cooing, and drama is conflict-free, picture-perfect the imposture, impersonation in explanation of the mass memory. It is significant reluctance to spend with their heroes not half a minute before the next cut, and the time sufficient to for poster images began to appear real people (even smart enough, docucinema Director and writers), leads to the distrust of the viewer: Serebrennikov takes a “Summer” like you don’t believe in the possibility of the audience to endure even five minutes without another attraction. For a person on their skin right now know the price of freedom in the Russian reality, it is surprisingly proprietary, Patriarchal author’s approach.
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