Directors: Anna Boden, Ryan Fleck
Cast: Bree Larson, Samuel L. Jackson, Jude Law
Stupid epic about superheroine with fire fists in performance by Bree Larson
The space people of Cree are convinced that the Skrulls, a species that needs to be destroyed, impede the tranquility of the galaxy: they are dangerous in the first place because they can take any shape and cannot be calculated. During one combat operation after the battle with the Skrulls, everything goes wrong, and the Cree Vers (Bree Larson) army participant catapults to Earth. In recent years, Jon-Rogg (Jude Law) has been engaged in her upbringing and combat skills, as the motivation is mainly reproaching Versus for excessive emotionality. Having broken through the roof of a video rental somewhere near Los Angeles, Vers lands on our planet in 1995 and immediately attracts police attention with uniforms, determination and strange questions. Having stolen things from a mannequin and hijacked a motorcycle from a biker, she rushes to meet with a dark-skinned pilot girl from visions with which they once worked together. In the obsessive visions of Versus, there is another person - a mentor (Annette Bening), who embodies the Higher Mind: it was her support that made Versus a good fighter and should guide him on a journey around the Earth. In search of a tesseract, Vers will be accompanied by Samuel L. Jackson, who is computer-rejuvenated for three decades, who is most delighted with red cats.
Captain Marvel, the mirror answer to Wonder Woman and the Avengers spin-offs, although it has been under development since 2013, that is, long before the start of the story, looks like an urgent measure of industry response to changes in connection with Time's Up . And you really can’t find a better candidate for the main role than Bree Larson: politically conscious, advocating for equality, self-ironic, with an Oscar and generally embodying the idea that good should be with fists - in Captain Marvel, they have her fiery. The misfortune is that separately invented cute scenes, rare jokes and successful songs (the standard, however, set for a film about the 90s: Hole, No Doubt, Nirvana, The Cardigans) do not fit into one story.
Fights disappoint, and do not carry away, the villain (and the plot twist, if you can call it the turn expected from the first scenes) is obvious from the very beginning and without any spoilers. Big actors scattered by chess roles come to life no more than cardboard posters in film distribution: it’s very rare that Brie who won an Oscar for “Room”, Jackson from Pulp Fiction, Bening from “Kids Are Alright” flashed on the screen from "Intimacy", but they never turn into real movie heroes. In each ingredient, Captain Marvel has better analogues - much more interestingly drawn galaxies and star ships, faster chases and gentle friends. Even the cat and that one is painted, not real: remember the charismatic redhead from Inside Lewin Davis. And only better than Nirvana since 1995, by and large, nothing has appeared. Because "Captain Marvel" and rides with such pleasure on old hits - to make movie power of the mid-90s, the modern franchise is weakabout and you just have to buy the Courtney Love and Kurt Cobain soundtrack.
Producer: Matt Heineman
Cast: Rosamund Pike, Jamie Dornan, Stanley Tucci
Great War Reporter Drama with Rosamund Pike
The editor (Tom Hollander) discourages Marie Colvin (Rosamund Pike), a well-known war correspondent and the main value of the London edition, an American on the other side of the Atlantic, from a trip to Sri Lanka, where the Tamil Tigers block humanitarian aid. But Marie ignores the editor and the army’s warnings for foreign journalists and still rides. In Sri Lanka, she sees people who do not have food and medical care, gets into a shootout and loses her left eye. At a party with friends in London on the occasion of her return, she notices that she has become limited in movement and forced to learn the simplest things anew. "You see what happened to you, and you were so beautiful," says Marie's ex-current husband, she sends him to hell and goes to the Middle East. Like a fearless pirate, Marie will wear a black blindfold on her left eye. From 2001 to 2012, she will spend more time in hot spots than at home, and will be killed in Syria. The story of her life will be published in Vanity Fair in a profile that will fit the life of not only Marie, but the whole world after September 11th. And at the same time, our collective panic and confusion.
"Private War" is a rare feature film made by a skilled documentary based on real events. A very young Matthew Heineman shot two prominent docks, one of which received an Oscar nomination: Land of Cartels about Mexican cartels and civilians on the both sides of the border unsuccessfully fighting them, and City of Ghosts about Syrian citizen journalists trying to report alternative point of view from the scene of tragic events. Marie is a figure with whom Heineman used to associate himself and whom he observed in abundance during filming and field research in Syria. Drawing a heroic portrait, Heineman pulls everything out of Pike to show it not with an armor-piercing machine, but with a very vulnerable person - with post-traumatic disorder, sores, inner anxiety and a craving for objective facts. Heineman constantly confronts her with a peaceful reality so that a very lonely Marie herself rushes to the battlefield with unhealed wounds. "Private War" is a drama about a suicide mission, the most important movie about the war with a female prototype (and women are also fighting - remember "Goal Number One") and one of the best films about the war as overcoming trauma. Before our eyes, Marie is losing hope and meaning, so sudden death seems to be mercy.
Producer: Brady Corbet
Cast: Natalie Portman, Stacy Martin, Jude Law
Controversial pop star drama with Natalie Portman with soundtrack
In the late 90s, a teenager with a strange surname Active starts shooting at classmates. The musician, Celeste, gets up under the bullets and promises to pray with the killer if he lets the children go. Celeste gets a shot in the throat, goes to the hospital, where, with the support of her older sister (Stacy Martin), she begins to compose songs. She performs one of the songs at a meeting in memory of the dead children and falls into the camera lenses - the video becomes viral. The producer and agent (Jude Law) finds Celeste, drags him into the studio to record a hit, then to the label, and later to shoot the first clip in Stockholm. The girl becomes a sensation. We will see her again in 2017 - an arrogant and self-confident superstar that gets away with everything (Natalie Portman), she will be preparing for the decisive concert on the occasion of the release of the sixth album, Vox Lux. Natalie Portman plays the star at the limit, which plows on the fourth ten, squeezed into the schedule of concerts and releases - the profession and inspiration in her story diverged a long time ago.
On the account of the author of the film, Brady Corbet, the ambiguous biopic “Childhood of a Leader” of an abstract fascist dictator (in whose biography all faces of totalitarianism of the 20th century are guessed) and roles in “Funny Games”, “Melancholy” and “Mysterious Skin”. Shocked by the terrorist attack in the Bataclan club in Paris, Corbett wrote a story about a pop icon whose star rose in the wake of the hype and panic of the future: the film’s chronology is very clear from the mass shootings in Columbine to the mainstream pop show of today. Something really happened to popular music, which is currently being written by leading music journalists - John Seabrook (“Song Machine. Inside the Hit Factory”), Stephen Witt (“How Music Gets Free”) and Simon Reynolds (“Retromania”). Brady Corbet called on Siya, who wrote sticky hits by all the rules, and connected in one film the simultaneous enchantment of the public before the dances of the conditional Lady Gaga and the war in Syria. These stories have long coexisted in our news feeds, and Kendrick Lamar’s hits collect more reposts than Black Lives Matter processions. Vox Lux, with its simple analogy, is about that.
In some places, Corbett’s message seems completely frontal and pretentious - whether it was quoting Faust in the finale, Willem Dafoe's frantic voiceover or generalizing in the spirit of Celeste lost her virginity at the same time as America. And Vox Lux could have annoyed in such a tone if it had not been dry to state what is happening. The unpunished rudeness of pop icons, invisible producers and songwriters, a star as a standard of collectedness on stage and an unbearable person in everyday life. In Vox Suite, there are enough small and accurate observations that the pop hit text sounds like a prayer, every concert becomes a sermon, and money is not something that the stars are shy about. Celeste - a function of oblivion for her audience - is no more complicated than her own songs, and Vox Lux is primarily a movie about artificial noise: this noise is needed to distract from thoughts and give a sweet pill from troubles that cannot be dealt with alone.
Producer: Sergey Livnev
Cast: Alexey Serebryakov, Daniel Olbrykhsky
Call the Parents from the screenwriter Assy and the Land of the Deaf
After an unsuccessful suicide attempt, the son (Alexei Serebryakov) comes from Israel to the Baltic states to his father-conductor (Daniel Olbrykhsky). A well-known person with a bad character, he uses his beloved woman as a housewife and a nurse (Elena Koreneva) and now and then throws to his son replicas of selfishness and ingratitude. Never being a family man, the father instructs an adult child - how to love him, why to start a family - and starts uncomfortable conversations about the trail left behind him. The son, on the other hand, notices the shaking hands of his father and his temporary loss of reality: the doctor notes an obvious Alzheimer's disease and the need for constant care. No matter how painful and compelled the newfound family intimacy may be, the two will spend critically much time together to tune in to each other.
The parable of the two egoists is the return to the direction of Sergei Livnev, who invented the plot of Assy, The Land of the Deaf, and shot two wild Russian films of the 90s Kiks and Sickle and Hammer. In “Van Gogh” it is impossible to find the shadow of courage and folly of Livnev’s past experiences, as well as his production career in Hitler Kaput!, Office Romance. Our Time and Rzhevsky against Napoleon. This is a very conservative and tired movie, left at the mercy of two eminent actors: Serebryakov and Olbrykhsky are trying to outplay each other, demonstratively compete and play the painful conflict written as a series of domestic squabbles.
This troubled movie is not by virtue of its merits, even if it is written from personal experience, which Livnev openly talks about in his interviews. Two scolding stubborn people (in the company of prominent actresses in the background: Koreneva, Nemolyaeva, Negoda) - of course, a portrait of a crisis homeland, where people (not necessarily different generations), in principle, have forgotten how to speak and listen and prefer to grumble and attack each other. But the illustrativeness of Livnev, in which it was impossible to suspect his witty, caustic and still relevant early films, kills spectator curiosity and destroys all living things that occasionally flicker in this movie.
Cover: "Russian World Vision"