Apparatus for transmitting and receiving achromatic sound In ancient times, when I was just beginning to learn cinema not just as a means of entertainment, but rather as author’s art, the main discovery for me was the concept of director’s handwriting. At thirteen, it seemed fascinating that almost all of my favorite movies were made by the same person. And when I was miraculously struck by a fresh film from this author on an absolutely uninteresting topic about the founding of a social network, then little Seryozha realized that it does not matter what the movie is about, it is important how it is directed. In addition to Fincher, other favorites gradually appeared - Lynch, Kubrick, Aronofsky, etc. - but the first honorable role of the main unloved director then went to horrormaker Scott Derrickson. Whatever poor Derrickson did - horrors about exorcism, fiction with Keanu Reeves, the continuation of the Hellraiser franchise - all somehow caused anger. And then years later, when I, sorry, saw all sorts of selective shit, there were no negative emotions for Mr. Derrickson. Rather, a resentment for the seemingly untalented director.
My main problem with Derrickson is that his films always lack something to be either a complete suck or at least a good movie. They are just average, and in the most classic, unassessed concept. This is not Neil Blomkamp, who after one successful film was elevated to the rank of a genius, and he is happy to try, with each next picture demonstrating how much the audience made a mistake with the advances issued to him (but at the same time there is still a large army of his fans who complain, say what a scoundrel Ridley Scott did not give the underrated genius to remove the fifth ' Alien'); Derrickson doesn’t even have loud career flops to scold him: the remake ' The Day the Earth Stood Still' was just no, the fifth ' The Rebel from Hell' at least amusingly copied Silent Hill 2, an acceptable horror ' The Six Demons of Emily Rose' a week after watching, I couldn’t remember. Incidentally and 'Sinister' but after him at least there was a feeling that he saw something really creepy. Perhaps thanks to the snuff episodes and Ethan Hawke (and one revisit to remember what it was), I can still call this film the best of Derrickson’s career. And now, seven years after his extreme work (for a second, Marvel’s & #39; Doctor Strange' in which there was nothing but a couple of successful visual decisions and jokes), the director still returned to the big movie, collecting a win-win, at first glance, deck: again a horror about a child killer and again Ethan Hawke in the cast.
' The Black Phone' based on a not-so-successful short story by Joe Hill (author of my favorite comic book series ' Locke Keys'). The original story is such a concentrated Stevenkingism (for nothing written by his son), which the king of horrors himself would sketch on a napkin while waiting for his order at a restaurant. But, be that as it may, to the credit of the creators of the picture, the film itself ' Black Phone' it is in the role of a sensitive adaptation of the literary source that it is quite worthy. For a thirty-page story, the one-hundred-minute timeline proved to be perfect for the screenwriters (Derrickson and his regular co-author C. Robert Cargill) to fully develop all the ideas of the original work (and not add any of their own, but more on that later). Hawk here turned out to be very intimidating - yes, he plays a maniac this time, and in an image very far from the original (and thank God). Except that in a couple of frames, the authors could not resist and could not deny themselves the pleasure of collapsing Pennywise, which in general, is not particularly out of their chosen very strange (sorry for the expression) style. Of the pleasant here are two great performances: underrated cool artist Jeremy Davis in the role of the classic King’s waterbuser father and another actor from ' Sinister' Alexei Polarinov James Ranson, in a short but memorable role.
My main problem with the new film by Scott Derrickson again is that he has nothing to offer the viewer a new. ' Black phone' this is another ' Stranger things' about children in the eighties (well, OK, there's 78th and instead of talking about ' Something' here they talk about ' Texas Chainsaw Massacre' and instead of Dragon's Lair play Pinball). Many critics and audiences already call this film the best of Derrickson’s career and, frankly, they are probably right. In the selected setting on a specific literary basis, the director was able to build one hour forty minutes of a clear and interesting story about the confrontation of a strange (for no reason) maniac with a brave boy. The story of growing up in the shell of the classic horror, which a young fan of Stranger Things will look at once in the break between the release of the new season. But to me, the same 'Sister' was at least scary. A'Black phone' well, acceptable. No negative (and no positive too).
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