The Secret Life of Pets 2
The Secret Life of Pets 2
Chris Renault, Jonathan Del Val
Patton Oswalt, Kevin Hart, Harrison Ford, Eric Stonestone
Passing and predictable cartoon about animals in lack of people (yes, even worse than the first part)
The second part of the cartoon that exploded the box office about domestic animals that swear, relax and have fun without the help of people, contains as many as three storylines, which, unfortunately, does not make it more interesting. A baby appears in the family of Jack Russell Max and his step-mate mutton Duke: after a while he is already hyperactive, and then a new best friend, a child who needs an eye and an eye. The family leaves the city, where the dogs get acquainted with the local Alfach Rooster, a self-confident and firmly standing paw dog in a bandana who teaches the city majors real national life. In the city, the Snezhok rabbit and Daisy’s decorative dog stumble upon a white tiger from Russia (where else?!) Imprisoned in a cage and try to save him. The third story is about a rubber toy bee missing in a New York apartment: the apartment belongs to a grandmother with dozens of aggressive cats, and in order to get the toy out of there, you need to arrange a whole crusade. The animals are voiced by a dozen cool actors (from the newcomer to the Harrison Ford ensemble to Jenny Slate and Ellie Kemper), but in the dubbing we, of course, will not hear them.
I would like to accuse the Russian dubbing of evaporating jokes and intrusive intonations of all the main characters, but the sequel to The Secret Life gives itself out with clumsy animation, soulless storylines and non-charismatic big-eyed muzzles, jumping here and there for the amusement of the viewer. Lazy script, God forbid, would be enough for a ten-minute short meter, but it was spaced out for an hour and a half. This is how a money-making machine looks like, driving Illumination employees in dog and cat skins, beating off money invested in production through children and their innocent parents.
"So said Charlie"
Hannah Murray, Sookie Waterhouse, Annabeth Gish, Sosie Bacon
The history of the female part of Charles Manson’s faction with failed feed
In a California prison, three young American women Leslie (Hannah Murray), Patricia and Susan are waiting for the sentence to be executed - they all received other names in the family of Charlie Manson (Matt Smith), abandoned the past, parents and the philistine life. On an abandoned ranch in the middle of the desert, young girls are the vast majority of Manson’s retinue, who becomes the father of the lost, the main inspirer and patron. First - orgies under LSD, then - servicing the body of Manson's guests, relentless housework and calmly tolerated rape and beatings. By the time Manson persuades the girls to raid the Los Angeles rich, yesterday's children will finally lose their self-criticism. In prison, the psychologist and feminist Carlin (Merritt Weaver), a divorced mother of four children, will take on the girls: she will see deceived girls with complexes in the demonized killers whose vulnerability was exploited by a charismatic manipulator. Karlin decides to open her eyes to the killers and starts to find out a little bit how life was arranged in the Manson family: then they talked about the sects and knew very little.
The director of "How I Shot Andy Warhol" and "American Psycho" Mary Harron offers his own pro-feminist interpretation of the extras Manson, which will complement the long-awaited summer premiere of Tarantino. Harron’s best intentions are to show how pressure, intimidation, and psychological games with lost children lead to a rigid hierarchy where being an apostate is life-threatening, wrong, and ultimately impossible. Herron’s main mistake is to pronounce what you don’t need to say, give the heroines chopped lines from the textbook, and chew on the motivation screen for the participants in the events. Charlie Manson will erupt in a monologue that every young girl dreams of "sleeping with daddy", the feminist psychologist on her fingers will explain that men have more power in society, then Sharon Tate from TV confesses that she is not her shell. Harron pedals the logic of reclusive sectarians and lucidly shows an escalation of abyuza in any authoritarian community: "to be beaten by a loved one is like making love to him" or "abandon the ego and you will be a finger on your hand." But in such a black-and-white disposition, her efforts are in vain.
Der goldene Handschuh
Jonas Dassler, Adam Bowsducks, Mark Hosemann, Margaret Tiesel
The repulsive drama about a maniac in Hamburg 70s detailed scenes of torture and killings
The first five minutes of the film we will spend with the terrible Fritz Honka (a very beautiful actor Dassler) - a disgusting drunken middle-aged German who cuts off the head of the first victim in his own kitchen. Honka - not the most famous maniac in the world - operated in the Ripperban area in the 70s, invited regular visitors to the Golden Glove tavern to drink home (not the tavern, but the “tinker” - the Germans call it “Kneipp” more correctly), beat and tortured them, and then quartered and hid in the attic wall: all this will be shown to us in the smallest details. When new guests asked Honka why it stinks so bad in a dirty house, he nodded at the crippled toilet and the Greek family below - migrants what to take from them. Honka remained elusive for several years, like many maniacs: the neighbors simply could not guess that the neighbor, no more and no less disgusting than the other public of Ripperban, was capable of murder and even more so of dismemberment. In the 70s, Honka was caught, two years ago they wrote a book about him, which became a bestseller. Not previously distinguished by composure and cynicism, the German Turk Fatih Akin, who shoots mainly about the clash of cultures of West and East, made up the young German actor in a geek who has no soul, and made his victims the same.
The Golden Glove is a physically, unbearably unbearable film: rolling up com is not the most frequent feeling of a film critic while watching, but the authors of most reviews tracked primarily their bodily reactions. The dominant tones of the film - yellow, brown, taupe - are the colors of human secretions (there can be no double interpretation here: vomit, urine and shit are the most popular words in the script), the whole atmosphere of Honka’s apartment and his bar is the color of insect adhesive tape. After half an hour of the film it’s clear that you are shown a snuff, where beaten, injured and disgusted disgusting women will be tormented for two hours with sophistication, like in persistent nightmares, and mechanically, like in a butcher's shop. Fatih Akin found the strength to show the most deafening and nauseating movie on Earth, which I want to see even if I got it for free, and scream to demand money back - if I happened to buy a ticket for it. And a long apology to those unlucky to invite with them.
Cover: Ten letters