The beginning and the middle are interesting, a mystery, so you close your eyes to countless conventions, stretches and blunders. But by the end of the series deflated, the last series and the finale itself completely sucked.
From time to time, our filmmakers of the detective genre are inspired by images of cool investigators with real physical (or even mental) abnormalities. So at one time appeared the "Nyukhach", "Second Vision", "Sparta". There is some perversion in this, which the authors admire, nurture and directly admire. Although the audience of such a hero causes, as a rule, bewilderment and deep sympathy. And the understanding that everything that happens on the screen is conditional. Well, it can't be, because it can never be. The police - the body of power and this hero can be in it only as an archivist and then - for special merit. Well, or at best - a consultant - without the right to participate in operational-search work. But we are immediately given to understand that this hero, of course, will not sit in the courtly framework of the post and will necessarily, and repeatedly, get into the very what is called hell, each time missing the criminal and losing in a fist fight with him. In Sparta, for example, such a tracer is generally in a pre-stroke state and each time it covers at the most important moments for the investigation.
The absurdity of the situation is diligently inflated, because the viewer sees, on the one hand, the obvious service discrepancy of this character, on the other - his "selfless" desire to do what is best. But every time it works, it always does. That is, the criminal, the exposure of which, it would seem, is about to come, safely slides away from the investigator, who again fainted and so, quite literally, several times. If the authors wanted to introduce the viewer into a state of deaf irritation, then they coped with this task quite well.
As for movie tasks, everything is much more complicated. Compositionally, the series is built on a torn narrative, and torn into small shreds, with a constant return to the already screened frames and the addition of something allegedly reopened in them - after all, a thriller, you need to correspond to the genre. And this only delays screen time, greatly reducing the dynamics. And, in some places, the story sags, and then somehow deliberately protrudes. That is, it seems that the editor did not hold his scissors very tightly and they sometimes just fell out. Or was distracted by another puff, after which he was carried away away from the mounting table. Which also worked hard for the sense of absurdity.
The opposition of the main characters is built on an equally absurd principle. It was clear that, despite the illness, he would win unconditionally, since (as high morals tell us) physical defects are nothing compared to spiritual ones. Well, yes, he will be thoroughly whipped and even heavily landed, up to the sky in a cage, trampled and greased in everything stinky, but then ... That's exactly what happened. But for some reason, all this did not cause sympathy for the main character, nor delight in the defeat of the enemy. It seems to me that it’s all about the actors, who in this case work absolutely on equal terms and completely failed their roles. Although, I confess, as much as I like Tkachenko, I do not like Petrov so much. In the first, I always saw a deep study of the image and a concrete sense of proportion (not about this series). The second - flies on tops, replaying on all emotions at once. And if the charismatic nature of Trakenko easily allows me to believe in his power over any female instincts (which, in principle, is not important for this series), then Petrov, completely deprived of it, does not convince me of his ability to become not even a leader, but practically the Führer of any collective. Even as casual, unexpressive, and totally unattractive as this class, fascinated by Sparta. There is not a single truly talented person here or any obvious, quietly deforming beauty. All this seems to be marked, but, alas, has not been won. As a result, if the thesis “don’t make an idol of yourself” is somehow implemented on Petrov’s familiar hysteria, then “don’t create an idol for yourself” simply sagged hopelessly – in such an amoeba-gray mass this is not real – simply because this is a real herd of sheep who need not an idol, but a goat. That’s how it worked out.
More or less falls into the original plot of the series finale. And, although it is also made in a clearly absurdist vein, it is still impressive and gives hope that in modern digital realities, the birth of a new Fuehrer is practically not real.
4 out of 10
At first I saw only a video on FB, where Petrov stands up for a girl in the dining room. I decided to watch the show. It doesn't make sense. The series is interesting, of which there are few in Russian cinema. It was called the Third Wave experiment in the United States. The reality is much sadder than the authors of the series intended. High school students think that they are adults, but the series is close to reality, which affects everyday problems: the father beats his daughter for frivolous clothes, the girl left her drinking mother to her boyfriend, folk traditions (to look for a wife of the same nationality). It's sad, but it makes the series more interesting. The characters are not superficial, everyone has their own pain, their own interests, their own motives for playing Sparta. Petrov is good, so convincing to play a fascist asshole, especially with a gaze of underhead. The finale was logical, Kryukov’s hatred was very strong in relation to Bark and his actions. I recommend watching.
I watched the TV movie Sparta on TV. On TV to watch after the commercial - everything seems as if to put it, lingering. It's amazing. As our leaders before the people in this frame ...
Much has been written about Sparta, both right and partly right, but it deserves more than half-truths or investigations of particulars.
In fact, a worthy critic is primarily a pointer of purpose, an actualizer of goals for artists. Of course, the specific arguments of critics are important, but a worthy critic is primarily an assistant to comprehend ideas, goals for the Creators, and, of course, for the public. In the days of the notorious liberal-democratic pluralism and tolerance, worthy thoughts are drowned out by all sorts of impudent “business,” from church ministers to homeless people, not to mention leaders. As in “Sparta”: a decent person says I am nothing.
So this “nothing” can disappear, albeit with those who “what”. So actually there and shown in the leader without offspring, in society with the offspring of virtual morons on the ruins of the industrial zone.
But the cause of all our “chevo” must be stated bluntly: the cause of the inferiority of society lies in the inconsistency of the organization and ideological support that is necessary for new technologies, the level of production that frees people from primitive problems.
This liberation, these resources of the achievements of civilization, poison people, take away their future in the conditions of rotten ideology and ancient organization of society. Like a plentiful food, taken incorrectly. And the alternative is the ideas of communism, so zealously criticized and vulgarized by flawed people in the difficult conditions of mastering new technologies. Life is based not on the elements of anything and the market, but in spite of it. A society based on instinct does not fit into modern technology and is poisoned by it. And collectivization, the correct organization of society on the basis of a reasonable understanding of the present and the use of the achievements of civilization to distance themselves primarily from the moral atavisms and primitive instincts of the animal - a pledge for the future, for development.
Yes, for the most part, the task of art is expressive to show, the viciousness of outdated legends, the problems with which they got used to, began to be considered a natural part of life. This is an honorable, difficult task that the creators of this film coped with. You can see flaws, but there are no straight lines. And in imperfection there are deeper causes that even enhance artistic value precisely by the uniqueness of Being, the Moment of Life. An even grander task is convincingly, emotionally, artistically convey promising ideas.
Yes, mankind has had examples of artistic advancement, not only indicating direction by the method of criticism of the existing and even its consequences, but also offering creative, concrete proposals. This task is incomparably greater and is implemented in one way or another, alas, often flawed, or insufficiently expressive, since the true ones are accessible only to true geniuses or deep philosophers who do not break away from reality. Alas, even proposals based on promising ideas in the vast majority of cases in artistically decorated – Mirages. This is natural precisely because of non-quantitative, qualitative artistic comprehension, description. And, unfortunately, this is perfectly used by crafty salespeople from the past, using market methods of half-truths, displacement, substitution of concepts. Therefore, the main task of critics is to fight for the Truth, develop their real meaning and expose just parasitic “artists” and talkers of all ranks on the topicality, such a convenient time in the chaos of the market.
Therefore, I am forced to write, if not convincing, then without losing Honour. Too brazen live third-rate people in the role of leaders and defective members of modern society.
Classics of the genre “youth thriller” in its worst manifestations:
30-year-old men playing 17-year-old schoolchildren,
School class consisting of beauties and handsome people,
Stone faces trying to noir, but receiving only a parody of it,
- a computer game with graphics from the mid-2000s, which drags down a whole class, well, it just sucks everyone. So you can't come off. No one else has any fun, then. I get it. The creators, apparently, also want to ban computer games or something.
Add to this the inappropriate attacks of the protagonist on everyone around and the angry smiles of the local “main villain”.
Yeah, the "something Hollywood" tracing failed miserably.
Although the music and acting, oddly enough, good.
4 out of 10
“Sparta” is one of the few Russian TV series, to watch which, terrible, scary, but you just can’t take your eyes off.
It’s like watching a train crash or a volcano erupt. You have to run, call for help, and you stand there and look like you're fascinated, knowing that it won't end well. . .
About what?
There are two deaths in the same class. A local district officer arrives at the scene, in the past the best detective, who is respected, and now is experiencing a decline, both in life and in work.
The plot of the picture throws the viewer from the past in the future, then into the present and again in a circle. The first 3-4 episodes are annoying because you can’t put everything together. But by the 5th series, the puzzles begin to fold. And gradually you begin to understand that in a different way the characters, motives and how the consequences of the actions of the heroes would not be revealed.
Series after series, we are increasingly immersed in the pool of not only teenage souls, but also adults. And in the end you understand that in the picture there is not a single, in fact, a positive hero or at least not casting the shadow of moral doubt in himself.
I especially want to mention the main "heroes":
Mikhail Barkovsky (Alexander Petrov) The first couple of episodes, he even commanded respect, a man who at the age of 17 already had an adult position, knew what he wanted and how to achieve it.
But as the character unfolds, you begin to see the rot in him, which used to be covered by self-confidence and bravado.
You see how small and miserable you are in yourself and among his peers. And how you transform the “botany-loser”, occupying the role of a leader among immature minds.
He skillfully penetrates into the soul of teenagers through the means of play, where the main rule is: permissiveness.
And what seductively accessible to them, presents the idea of embodying their altre-him in real life. Why not? Who will punish the children? Is it possible to touch them?
Played the actors brilliantly, they vomit, and want to get into the screen and slap.
To stand next to Bark and say, or rather yell, that his idea of prioritizing only healthy people is complete nonsense!!! After all, if society lived according to the laws of Sparta, we would not have heard Beethoven, read Lermontov, saw the genius of Salvador or Frida, etc. I don’t think that would change anything.
I also want to highlight the character of Shorina Irina (Alice Lozovskaya). How often under the mask of a “gray nun” hides a real bitch, who felt the power to play the fate of people. Although in fact, the power is not her, but the men are nearby. Life and sadness.
Captain Kryukov (Artem Tkachenko) seemed to me very earthly, a real man and a policeman. Not a perfect hero, not a perfect past, broken by his mistakes in the past. But still firmly, but imperceptibly, clamping the participants of the tragedy in the ring of justice. Not giving up, even in the face of imminent danger.
Artem Tkachenko remembered me only for the role of “Swordbearer”. But after this picture, I will be watching him more closely. I was able to do it 120 percent.
At first glance, I think the movie is about teenagers. But it's not just about their fears, their sense of permissiveness, their erosion of moral norms. It's about adults, too. As I wrote above, there is no one here who is morally pure. Stains on everyone: teachers, principal, police, children, parents and even a cleaner. It's like life. This makes it even more cold on the skin.
Atmosphericity of the picture adds a leisurely course of the plot, a color solution: everything in dark, gray-brown tones. There is no sun or its glimpses, as it seemed to me, at all in any series.
No, not like that musical accompaniment. But, there are sharp dialogues, monologues to which you should listen, filter through your own soul.
The only thing that irritated and distracted at first was that students are played by very grown-up guys (Petrov so 30).
But most of the time, the faces aren't washed up, so you stop thinking about it in the middle.
To sum up: thank you for the film, I have a daughter and I will make even more efforts after it so that she grows up a person with her strong position, but a kind heart.
Watching was scary and painful, but necessary. Be sure to familiarize everyone who is not too late to think.
9 out of 10
It is no secret that TV series have reached a completely new level of creativity, production and quality. Every year, only strengthening and consolidating their positions by willingly expanding the scale of the narrative to the level of large-budget feature films, reflecting on the screen previously taboo topics and new extremely interesting ideas, attracting eminent actors and directors to the production and many others. Than actively "stepping on the heels" full-length feature films. Wanting to keep up with these trends, domestic filmmakers issued another extremely ambitious project.
The creators of the series raised on the screen a very important and relevant topic at the present time the influence of social networks, the virtual world of the Internet and video games on society. Especially the younger and younger generation. After all, almost all young people and even a considerable number of older generations have long lived in the virtual world. However, the creators of the series did not plunge into deep reflection and explore this topic from different angles. Instead, utterly one-sidedly portraying this theme on screen with the obvious diagnosis that all this is evil. Being created at the junction of 2014-2015, the series certainly came out at the right time.
But is that really the case? Is “life” in the virtual world, video games, and other benefits of the high-tech present really the root of evil, or is it all slipping down to people who themselves use these “impartial” and technological benefits in far from the right way? Persistently ignoring the fact of importance and influence on all this education, the inner and spiritual world of a person. To approach the topic with the same depth as the authors of the popular “Black Mirror” and even “The First Player will prepare”, the creators of the series not only could not, but perhaps did not want. Thus, and creating the impression that the series was made for creative purposes, as in custom (especially given the impressive number of discussions of the harm of video games in the Duma in recent years).
One good thing. The very theme of the virtual world of Sparta, despite the statements of the creators of the series, strongly faded into the background. In fact, bringing up the subject of teenage violence that thrives willingly in modern society. When cruel bullying and ridicule of teenagers cross all possible boundaries, turn into a real persecution of a person and pushes a person to the brink of despair. Very clearly reflecting what perhaps should make the audience think about the education of their child. After all, the topic of child cruelty, bullying and bullying is more relevant than ever.
Gathering together again after the trilogy of Gogol and Locusts, the creative trio of director Egor Baranov, producer Alexander Tsekalo and composer Ryan Otter produced a very provocative and interesting product. The creators of the series put albeit rather black, but extremely honest, bold and atmospheric product, which is very successfully trying to sit on the chair of genres of social drama and action thriller. The tension, suspense and poignancy are felt throughout the narrative. Only amplifying the effect of the numerous leaps of the narrative from the present to the past and vice versa.
The weak side of the series can only be considered frankly weak and somewhat cryptic implementation of the virtual world of Sparta, which turned out to be performed in a kind of symbiosis of The Sims and Grand Theft Auto games. The creators of the tape simply filmed everything live and slightly “curved” people with the appearance of mainly acidic shades, as well as quite ragged and “creepy” movements.
Happily pleased with the cast. The last ten-plus years were extremely unfortunate for the actor Artem Tkachenko, who figuratively “falled out of the clip”. Almost becoming hostage to secondary roles of various eccentrics, scammers and comedy characters. This role can be called a real gift for Tkachenko. After all, it was here that he got the opportunity to once again show his dramatic talent and certainly one of his best roles. Even if he willingly outplayed one of the most popular and popular actors of Russian cinema Alexander Petrov. A little detached and restrained, as well as actively wielding his charming smile and powerful charisma, Petrov simply perfectly got used to the image of a serpent-temptor who imagines himself to be god, who very subtly manipulates and plays the fates of other people. Both actors have done particularly well in the last two episodes of the season. And the rest of the cast presented on the screen the most complete and very convincing immersion in their characters on the screen.
7 out of 10
Sparta is one of the most ambitious and provocative television works of domestic production. The series turned out to be far from perfect and it certainly has its flaws (including an extremely one-sided discussion on the harmful influence of the virtual world and video games on young people). However, even at the same time, it turned out quite a tough and at the same time extremely honest product. Very decently raises on the screen is extremely relevant in our time the topic, which is not only impossible to keep silent, but also to shout at the top of your voice.
Sparta is a detective with elements of drama, staged by Russian director Yegor Baranov, who previously noted such works as the series 'Fartsa', a film not for everyone 'Jerey-san. Confession of the samurai' with Okhlobystin and three parts of the new ' Gogol' which is now successfully storming cinemas. Unfortunately or fortunately, I am not familiar with the director’s past work, so I will draw a conclusion about his talent based on this picture.
The plot of the picture immerses us in the weekdays of an ordinary St. Petersburg school, where in broad daylight the teacher Anastasia Istomina is thrown out of the window. To find out whether this tragedy was a suicide or murder, the captain Igor Kryukov. The investigator gets acquainted with the 11th grade, where the deceased was a class teacher, finds out that people were killed in the school before this incident, and learns that all the students are enthusiastically playing a bloody computer game without rules called as it is easy to guess 'Sparta'. When Kryukov realizes what is really going on, his own life changes forever. The plot is nonlinear in the best traditions of the genre consists of reality, in which both flashbacks and flash forwards are constantly interspersed, where we can observe the actions and actions of the characters, as well as see the result to which they led or will lead. It would seem that an interesting plot, a non-linear narrative and a good idea, coupled with only 8 episodes, are simply doomed to success and full attention of the viewer! Despite the conciseness, the plot has time to sag, there are enough script assumptions and bland dialogues, and the game itself taken as a basis has no influence on what is happening. It simply serves to unite completely different people into one sect, but it does not affect either the plot or the characters. It's just like a closed channel, 'alya' double-encrypted chat if you will. The game itself with elements of virtual reality is very primitive both in its capabilities and in terms of technical implementation. I suppose if you showed it to those who created the virtual world for the film ' The first player to get ready' they would cry bloody tears! The game in this picture is more of a metaphor for the dependence of society on gadgets and the network in the modern world. Even the final twist of the film shows the indifference and inaction of modern society, the content consumed, in relation to each other, which does not react to the surrounding reality up to the murder. And this is another reason to think about the question of how to stay 'Man' in the digital age. The main characters are written very well. Each of them in the course of the movement of the plot reveals new faces and it is interesting to observe. Attitudes to some characters change several times during the series and it is great when each character is shown in a versatile and not one-sided way. What the film lacks is tension and unpredictability. Already about the middle of the third series, you begin to understand how this action will end and the finale of the picture does not become a surprise for you, but rather a given that is not good, because it does not leave an aftertaste.
Regarding the acting I want to highlight the work of Artem Tkachenko and Alexander Petrov. It turned out charismatic, interesting and complex characters. The only thing you can find fault with is the appearance of schoolchildren, for example, which of Petrov schoolchildren is 17 years old? Students were played by students or graduates of theater universities. The director considered the project too difficult for teenagers, so it was decided to work with professional actors. Well, maybe it's for the best.
Regarding the camera work and the soundtrack, I have no special complaints. The series is shot quite decently, skipping 'notes' neonoir, which complement modern St. Petersburg landscapes. The picture corresponds to all modern trends and is not inferior to the hits of recent years, and conveys the necessary atmosphere.
In general, it turned out to be a passing series for one time. I can't say he got me hooked, but I didn't get annoyed either. And for Russian cinema this is not a bad project, albeit with certain shortcomings. It is entirely up to you to see it!
I am not a fan of serial films, as it is now called in the common people, and I believe that if you watch the series, then for several seasons at once, to specifically go headlong into a certain atmosphere, get used to the characters and enjoy the plot as long as possible. But it was this tape that was an exception, because it looks on one breath and draws so deeply that towards the end you are “eating” enough with the spectacle, of course, in a good sense.
“Sparta” tells the viewer about how impunity can affect a person (in this case, a teenager), even if it is virtual. It is impossible to say that the boundaries of reality will necessarily be erased in front of a teenage player, but this happens quite often. Therefore, you do not need to take the film too literally, since it does not carry any propaganda, but makes you think.
The plot of “Sparta” is not original, but what a pitch! You can arbitrarily scold the domestic cinema, but it is in Russian TV series there is something unique, something of its own. Really! And that "something" is shown here in full. After all, in students you unwittingly learn your former classmates, in teachers - your teachers, and in parents - your old people. And although much is greatly exaggerated, it is still interesting to watch.
The only stone in the garden is acting. More precisely, there are no claims to the actors themselves, but there are to their characters - the moments of heat are played out with great tear, which is clearly spelled out in the script, and looks at times not dramatic, but, on the contrary, funny. But that's just my humble opinion. (Sasha Petrov, of course, does not apply)
In conclusion, we have a strong detective drama about teenage cruelty, shot modestly, but with a soul, with a couple of good actors, an addictive plot, albeit a little “black”, and, most importantly, an unbanal ending. In general, at leisure, I recommend to read!
Anyway, the project about schoolchildren and modern technologies on the favorite channel of pensioners sounds at least interesting. Naturally, the designation “cybernoir” from the creators shows a lot of cunning. The title of the computer game and the subtext about technology perform a rather utilitarian function in the series. And from the noir came only the type of murky detective with bristles, who was introduced here to attract real factory men to the screen.
From all the crevices emerges the desire of the creators to surpass the West and make a complex series with hybridization of genres and many storylines, each character is hung with details and has a couple of skeletons in the closet, but in half of the cases it turns out to be useless fillers and attempts to cover up the weaknesses of the main story arches. Surprisingly, even the detective's dark past and illness look like ballast here. It is not clear what interested the writers more: the investigation, the lives of modern schoolchildren or the pernicious influence of technology. The theme itself kind of echoes Uncle Spielberg’s “Ready Player One”, where a very elderly director had some idea of online life, here it feels that the creators did not see anything cooler than the telegraph, muttering the main idea as if with the intonation of Jack Thompson, who once blamed all the troubles of the GTA series game.
However, on detailed examination it turns out that the series is not about teenagers and their toys, Sparta is like a dusty mirror, a story about people who do what they are told, and do not even understand who ordered it and why, we all know how thin this metaphor is.
Who can turn into a botanist who is a little fond of eugenics, Nietzsche, theories of racial inferiority and possessing power?
Accidentally stumbling upon a review from the KP of a new psychological drama 'Sparta', it was decided not to postpone the viewing in a long box and it was done for good reason.
The plot is based on the investigation of the district Kryukov mysterious death of the class leader of the best class of the elite school. In the course it turns out that somehow a new student Misha Barkovsky and a new game of virtual reality called 'Sparta' are associated with the tragedy at school.
JANR 'Cybernoir' Very new for the Russian-speaking audience. It is worth noting that the series came out quite harsh and tough. According to the first series, the behavior and attitude of students does not indicate that we have an excellent class and the pride of the school, but rather resembles the students of the once scandalous series ' School' Valeria Guy Germanika, in the subsequent series it is not easier, but they try to reveal what caused these metamorphosis, what problems each of the students have and why they so needed the help of their new leader, who skillfully twisted them in favor of their goals and ambitions.
Actors. That's definitely the strongest side. The main roles are played by Artem Tkachenko (Kryukov) and the most popular actor Alexander Petrov (Misha Barkovsky). It is interesting to watch them, and you look forward to their appearance on the screen.
Due to the complexity of the project, quite adult students of theater universities were selected for the role of students. Despite the fact that they look older than ordinary schoolchildren, all seem quite appropriate and there are no complaints about their game.
Thanks to good personal dramas of secondary characters and charismatic, complex and ambiguous main characters, you want to know the fate of everyone, and the series does not leave this desire unsatisfied.
In humble opinion, a great noir picture for day Petersburg. Excellent musical accompaniment, which maintains the proper atmosphere and, when necessary, it escalates.
As a result, the story is tied to the game only indirectly, and it is about a man for whom boundless power, permissiveness and impunity have merged.
8 out of 10
Recommended for viewing, those who are not skeptical of everything filmed in Russia.
All the troubles of video games Precinct Kryukov investigates the suicide of a teacher in an elite St. Petersburg school. Everyone praises her graduation class, but he begins to suspect something of the class leader, Misha Barkovsky, and the Sparta game being tested on schoolchildren (a mixture of GTA and Sims). The investigation is complicated by indulging parents who believe that the toy is harmless, and all the troubles around the close-knit class are just accidents. Interesting show. It reveals the creators’ fear of technology, youth, and the future. Children are so easily confused, intimidated, drawn into bad company! At every turn there is danger, behind every desk there is a potential criminal. Dangerous maniacs (prostitutes, drug addicts – it should be emphasized) grow out of the most modest boys and girls. The most base actions are manifested in the communication of manipulative children with parents who are inattentive to their disgusting children. And there is only hopeless darkness ahead, because modern youth need nothing but digital toys. And then all this longing is intertwined with awkward dialogues with hackneyed jokes, a total misunderstanding of noir patterns, and the titanic efforts of actors and artists who try to pull plot holes. Parallel lines with flashbacks are distracting, confusing, getting to the more or less interesting fourth series is difficult because of the frankly weak and uncoordinated three episodes at the beginning. And the final and finishes completely inappropriate, but actively imposed parallels with prominent historical figures of the last century. The main problem is that the game, after which the series is named, is simply superfluous for the plot. Without her, a story about a rotten society would have worked much better. It is enough to recall a very real movement, A.U.E., and to associate the troubles of teenagers with it. And the reason for the landing of the main character, the fact with which the narrative begins, could be replaced by a more humane one, adding to the character’s inner growth. And even the motivations of each of the antagonists could be different, which would help them to open up. We are waiting for a local story, which grows to apocalyptic proportions according to the logic of gossiping on the bench grandmothers: Mommy's totally screwed up, not saying hello! The boys broke the lantern with a ball - the fascists! If everyone jumps off the roof, will you go? 4 out of 10 Original
Atmospheric, catchy cinema, made in the best traditions 'Thousand-Face Hero' J. Campbell.
Admittedly, I'm surprised. Why should I be surprised? After all, there has long been ' Method' with Khabensky, ' Policeman with Rublyovka' and ' Major' (and this is only casually), so all talk about stagnation and nightmare in the domestic film industry can already be stopped.
Of course, this can not be called neonoir: the movie may not be sunny, but at best gloomy. But this is not a rebuke of the series, but the only advertising article about it on the Kinopoisk. And of course, this is not cyberpunk - the reproach is addressed to the same.
And if you approach 'Sparta' without imposed expectations, it is very, very good. I consider myself quite omnivorous movie lover: I love Wolverine, respect Trier, so my opinion can be considered almost unbiased.
I will define the genre as “detective, drama” – exactly like in the description of the film on the website.
Impressive people, apparently, it is better not to look.
Of course, this is not a masterpiece, but I personally enjoyed watching.
Tkachenko is handsome, Petrov is handsome, the eternally hungry forensic expert is beautiful.
I'm really happy for Tkachenko. He was very unlucky with roles before, but in 'Sparta' fartanulo so fartanulo. I wish from the bottom of my heart that his career will now go astray.
P.S. By the way, this is rather a Swordbearer can be called a neonoir.
10 out of 10 - I'm a very kind judge: when I like, don't petty
I am not a fan of TV series, I have watched only a couple of American sitcoms, Sherlock and several short Russian serial films from 4 to 12 episodes. But Sparta delayed from the first random shots on TV at a party.
A kind of dystopia of our time, filled with cruelty, promiscuity, hopelessness, where new technologies are turned into weapons of mass destruction. Against this background, a few honesty and heroism are lost and therefore even more admire the viewer. And while someone tries to solve the equation with a few unknowns, others are increasingly bogged down in a web of their own lies under the weight of unpleasant luggage on everyone’s shoulders.
Here the boundaries between game and reality are erased, the innocent are punished, the guilty are among the plaintiffs, fates are broken over someone’s sick idea, and secrets are carefully stored in the darkest corners of memory and soul.
This is poker, where the most important thing is to sit with a calm face and skillfully bluff until someone opens up, exposing the vicious secrets of all the players.
The viewer observes how a harmless person is destroyed with special cruelty, how dreams, almost fulfilled, collapse, how easily and quickly the coolness deteriorates and molds, taking its owner into a marginal environment.
However, the director took pity on the audience, seasoning the bitter tincture with the aroma of pure love that requires nothing in return, the speaking eyes of Maria Smolnikova, filled with such care and love that not everyone is given to know, and the crazy reckless courage of Kryukov performed by Artem Tkachenko.
Fragments from different time intervals confuse and capture all attention, and the effect of almost sudden ' slide' masks from young faces, exposing animal muzzles with burning thirst for blood eyes, I was very reminded of a scene from Ivanov's book 'Homage-on-Blood'.
Of course, I really want to say more and more, discuss the unexpected ending, analyze all the characters and plot. Unfortunately, it is impossible to spoil.
“Died, Long Hi, The Series!” or it’s not at all clear why this is, if not the first, then one of the first reviews... for two weeks airing on the federal channel. . .
Somewhere in the depths of offices or secret copters on Queen 12 Street, in Moscow, there are two three screenwriters (and maybe dozens more..) who do not agree with the current state of affairs outside the window, and with all their might sabotage certain ideas promoted by the patriotic mainstream of the Russian film and TV series industry.
That’s not to say anything else.
Among them fighting proud & #39; Let's give our Netclix' just underground work and certain producers who very much want our, high-quality, sharp, and who do not want to fall under the rink of FC, well, under such distortions of parallel reality.
Well, how so, you can not take and just believe that the series with a very well-developed script, not a cheap budget, not a second-rate cast (even almost 70% of the young unused faces on small screens, actors who only a few years later will flash more often ...) lay on the shelf.
And this is with the financing of the federal channel and the center Wednesday.
Take off your hat in front of the creators of the Method, because it is a product of the same time.
In the series, where not cheap Petrov and Tkachenko, play at the peak (for 2015) of their acting abilities.
Where neonoir, detective, sharp themes, everything is intertwined, everything gives hints of a denouement, and everything will be unleashed as common sense suggests, if it does not finally disappear, under that veil, about which as a hypnotist, or the main demon of any sect does not try to sell you.
Gentlemen, you did not for nothing choose the best moment to show the series on very sensitive topics for 2018, which at the same time seemed to be left behind, under the cover of parallel reality.
Just about them you stopped talking, and whether it’s a slap in the face to wake up, because it’s not: difficult teenagers, taboo topics in society, the influence of computer games, virtual reality (even with cropped footage, at the stage of editing, so as not to overdo it with aggression and permissiveness...) fascism, Nazism, things far banned in the territory of the Russian Federation.
But the topics that occur in the real world, and if you talk about them only in your kitchen, you can completely forget that you need to find a solution for them.
It's the top of my skill to speak in this movie language. You do not need to create superconcepts if a simple viewer, a mass one, cannot get through what is good and what is bad, now the line is too thin, everywhere you look.
To cross this line offers the main antagonist, the demon, which is so delightfully played by A. Petrov.
A product that very carefully handles such 'hard' themes, not in vain to put in an extremely inappropriate time slot, almost at midnight.
There will be a few people watching it.
Who made this decision?
You don’t have to create conspiracy theories for a series. .
But this product has yet to become a cult.
Timeless, whether it is 2014, 2015 or 2018.
For their own, this is the same can of grandmother's brine, after a long binge. . .
You reap what you sow. That’s what I want to say after watching this series.
The Sparta series is what a lot of teenagers are living now. It is their secret desires, their thoughts their rebellious character. Yes, it is cruel, but quite truthful and makes you look at the lives of children from their side. After all, sometimes adults do not know what passions rage in the minds of their children.
How to manage teenagers? is quite simple. It's enough to be their own. Introduce them into their lives, say what they want to hear. They will see you as their leader.
This is a story about how easy it is to manipulate the still fragile consciousness of children. What can impunity, money, connections, lies lead to? Teenagers are like a sponge that absorbs it all and projects it into life. It’s no secret that children can be cruel. All this is the result of the attitude of parents, relatives, friends, classmates.
The series from the first series is not very hooked, but as you watch the next one, you begin to wait for the new series impatiently. A tangle of intricate actions of the heroes, slowly but surely trying to unravel the district. Watching series after series, it is impossible to predict the actions of the main characters. They are all like strings that one puppeteer very skillfully pulls.
It makes no sense to reveal the actions of the characters, I will just say that the series is worth watching.