The idea is cool, but the implementation is medium. Feeling like they wanted to do something in the style of a mix of Tarantino and Guy Ritchie, but it turned out more like a parody. Even a shame when the film spoils such excesses, which could easily be abandoned and would turn out really cool movie.
The director made a big movie and wanted to mix drama, comedy and blood. The blood came out and filled your eyes. And it wasn't funny. When you look, you think: It is good that the director sublimates his problems to the movies (albeit for taxpayers’ money). And maybe bad, because cinema is a very powerful tool of influence.
In the chorus, heroes are conditional, and this is normal. In parody, they are caricatured, bulging with weaknesses. In drama, they are alive because they are complex. Making drama requires a life experience and, crucially, a healthy value system. And when such a system is - blood on the screen, the author is no longer interested ...
Many genres were taken, but under the name is only: comedy. This is a trick for the viewer and a disappointment for many. Humor is a thing that cannot be imposed in advance: “Now you will laugh.”
And by and large, laughter is joy! This is not possible here.
Irony is a complicated thing, too. And it's not her either. You just sit there and do not dry from the mush.
What about modern Russian realities? Look into the soul of any drunk or scoundrel, and you will see the cosmos there. In the film there is a desire to look, but the blood and sublimation of cruelty win.
Good camera work. But this is not enough for cinema, it is not video art.
If cinema could be compared to the kitchen, and movies with all kinds of dishes, the immortal classics like Citizen Kane, Ben-Hur and the Apocalypse today would turn into a meal of Michelin restaurants. Alien, Pixar and Paddington's Adventures would be the equivalent of a family cafe. And blockbusters ranging from Avengers to Transformers and Furious would be fast food, whose quality depends on which network produced a particular movie (burger). And in the early '90s, one film-obsessed director introduced a special movie that looked like nothing else had ever been done before. This director was called Tarantino, and the movie was a special taste. A delicious taste that cannot be confused with anything. It's like an exotic oriental dish whose aesthetics are hard to understand, but you still feel like a completely different experience. Of course, after a ton of similar films exotic, this "food" ceased to be, but its piquancy still did not lose. Actually, the same rich taste has the Russian film Papa, die.
Filmed by cinema-obsessed Kirill Sokolov, this film became a hit not only in Russia, but also in the West. Many journalists of foreign publications noted that cinema is completely unique for the Russian market. Some of them are not quite right. In the late 90s - early 00s, there were many rebellious films from the same Balabanov, which were not like typical stupid comedies or "bull-Zhyagintsev" hopeless dramas. But yes, Dad, die stands out against them. And not because it "copies" the director's handwriting of Tarantino, but because it takes Tarantino's films as a basis and creates something unique on their foundation. Just as the Bundock Saints did, Bloody Thursday, the best works of Guy Ritchie and Martin McDonagh, the Pope, died took elements and added his own finds.
There is a sea of blood, black humor, non-linear storytelling, and even endless references and homages to other films, even classic westerns. But there is not much dialogue here. Much more suspense and tension created by pauses and silence. This creates a misunderstanding of what will happen next. Particular emphasis is placed on Russian realities with authentic apartments and far from correct heroes from the organs. There is an attempt at irony here. So, almost all vain characters get what they deserve, while the one who accidentally became part of the story, quietly gets out, as if it was a normal Tuesday for him. There is no attempt to engage in moralization. Rather, it resembles another way to create additional black humor that is really funny.
Just as any dish depends on individual ingredients and their quality, a movie cannot function without visual merit. And they certainly are. Work with the camera, with large, medium and long-range plans here is done excellent. Some of them work perfectly on the heat of the atmosphere, some on the personal state of the heroes, and some even serve as a subject of storytelling. Many people thought music was inappropriate, but I disagree. In many of his films, Stanley Kubrick has inserted classical and pop music into scenes where it didn’t mix, but they still work because of a mismatch in audience expectations. This discrepancy of musical accompaniment is necessary to create discomfort and additional tension and this is another technique that works perfectly for the general madness of the tape.
Let’s not forget the actors, of course. Gorevoy's powerful acting performance is impressive. At some points, you genuinely empathize with his character, despite a very controversial act on his part. Evgenia Kregde perfectly played a kind of sacrifice on the part of her not very righteous father, which in fact, is not much different from him and because of self-interest is quite capable of cruel steps. Against their background, Kuznetsov is not so advantageous with a much smaller emotional range. But if you think about it, it also makes sense. He perfectly portrayed the simplest guy who got into a crazy alteration and does not understand how to react to everything that is happening. We can say that it is from his side that we observe the whole hellish bacchanalia. I don't know if there's any point in saying something about Vitaly Hayev. In Depicting the Victim, he demonstrated an incredibly accurate and emotional acting that can easily be called a mastodon-level game in Hollywood. There were no scenes where Hayev would be as spectacular, but still the role of such a controversial character was more than given to him.
Actually, there it is. The so-called savory dish is completely ready. And, apparently, many people liked this food. You may not use it every day, but if you alternate the time correctly, you can enjoy it in full. If we stop speaking in terms of metaphors, it is just a good and really stand out movie that can find its audience. And judging by the success, it already has.
How rare it is and what a joy it is: the film is not what it pretends to be. It is a time when you are happy to be deceived and feel cheated. First impression: bloody KVN (wow!). Second: the laurels of Tarantino young Russian director do not let sleep (now, after the rivers of blood, we learn that the movie about love is not here!). Third: and in the stylistics of the quasi-blooded guignol there is something (with a sense of humor at least not bad). Fourth: here it is, the movie is about the lowered pain threshold of society, when it is not that someone else's pain no one feels, and their own does not hurt, even if the drill bone drilled (warmer, but that's not all). Fifth: aha, a caustic, merciless critique of mass money obsession - here they are, nasty, crumpled, cropped, blood-stained dollars, and because of this disgusting paper that relatives, that friends are ready to gnaw (well, yes, crumpled dirty paper, as an alternative to everything in the world - this is about it). But there will be another sixth and seventh - and I will not say that I do not want to spoil and spoil the fun. If you can’t stand the sight of blood and you are sick at the sight of a venous-blood stream, do not tempt fate: “Daddy, die!” is not for you. But in general, such a furious, funny, bitter, by the way, the film was not long ago.
My hairdresser recommended the film to me, but I watched it until the end only because it was curious to find out what young directors (Kirill Sokolov, director, a couple of years younger than me) are shooting.
What I didn't like:
- Some not very healthy (I use just as a layman, I am not a psychiatrist) attention of Kirill to blood. The whole movie is full of blood. However, it should be noted that the blood in the film is not very realistic. Blood beats with fountains, while the people from whom it is poured are not particularly in a hurry to die from its loss, just as without much suffering they suffer the injuries to which they are subjected.
- I think it's a weak script. Heroes look stupid, for example, showing indiscretion, which carries a threat to their lives.
- Roughness. Characters for some reason completely unceremoniously relate to each other, although they are relatives or friends, or lovers. The script is built around the human vices of their characters, it seems to suggest some drama, resentment, revenge, and everything comes down to the fact that the characters without special emotions will maim each other, destroy each other like robots.
What-liked:
This is a film that tries hard to be dashing, reckless, crazy (substitute here any title that is usually awarded thrash), but stumbles and smashes his head like a sidewalk, about the simplest film sins - loose script and weak heroes.
The only bright character of the film is undoubtedly the infernal father performed by Vitaly Khaev, but the hero in the film was not. And where there is no hero, there is no compassion, no interest. The plot, unfortunately, is predictable, the motivations of the characters are weak. And it's okay, it's thrash, and that's why we watch it, to get drunk as they follow script lawlessness, isn't it? That's just it turns out that the story told in the film is not thrash, but quite ordinary, like a bad action movie, with worn-out moves, and the authors tried to galvanize this story with the help of deliberate, tasteless violence and rivers of fake blood.
Technically, the film is sophisticated and tiresome at the same time - large and super-close plans, coupled with endless camera hits, begin to tire already in the first third, and the action scenes seem here not a means, but an end in themselves - the dish prepared by Sokolov is not that peppered, it is pure pepper, sometimes interspersed with a dish.
Black Russian comedy about corruption and family life
‘Daddy, Die’ is a black comedy directed by debutant Kirill Sokolov.
As the name suggests, the focus is on the father. And yes, they're trying to kill him. The film tells the story of a young man who goes to the house of his beloved with the aim of revenge. The girl said that her father abused her as a child and now she wants him dead. Finding himself in the apartment, the young man is himself a hostage and a victim of a harsh father who works in the police. And then unfolds an incredible story filled with absurdity, eccentricity, buffoonery and a huge amount of blood.
The main roles were brilliantly performed by Alexander Kuznetsov ("Acid"), Vitaly Khaev ("How I Became Russian", "Text") and Eugene Kregzhde ("Psych", "Geographer of the globe propyl").
Obviously, the director of the film borrowed a lot from Quentin Tarantino and Guy Ritchie. And he was no doubt inspired by the works of David Lynch and Pedro Almodóvar, when he created interiors and chose costumes for his heroes.
And it was a huge number of curts to Western world-famous films that became the main criticism of the film “Daddy, Die”.
The film was quite interesting, funny and original. But when a Russian viewer takes up watching a Russian film, he wants to see not domestic crafts for foreign films, but something that really reflects the actual Russia and the life of Russians.
Kirill Sokolov chose the perfect genre for this - black comedy. On the one hand, it allows you to touch painful topics for society, and on the other hand - to present them under the sauce of humor. Serious dramas like Leviathan and Fool are not for everyone, whereas comedies are loved by everyone.
Unfortunately, Dad, Die didn’t take the opportunity to tell a fascinating, believable, yet funny story about corruption and obsession with money.
The film is an ordinary visual kitsch. The director tried to fit into his creation as many images and bright scenes as possible. In the pursuit of a beautiful picture, the organic development of the story and the disclosure of the characters were lost. The viewer remains simply an outsider who is completely uninvolved and unempathetic bystander. Observer of a colorful red and green performance. . .
However, if you remember that “Daddy, Die” is the debut picture of Kirill Sokolov, then harsh criticism will be unnecessary and inappropriate. The director had a great funny black comedy. This is a visual feast, which is actually based on a very good idea. The devil is in the details and Kirill Sokolov put the accents a little wrong, so that the usual successful film turned out to be a really high-profile Russian release.
There is no doubt that this young filmmaker has enough inclinations to turn into a high-profile Russian filmmaker. He just needs to abandon the mania of imitation and focus more on the transmitted ideas and meanings, not their packaging.
We recommend to watch the film "Daddy, Die" - a vivid example of modern Russian cinema, in which originality modestly looks out from under the massive weight of Hollywood stamps and stereotypes.
The film is very ambiguous and memorable, although absolutely stupid. Dynamic, interesting to watch, I will tell you right away. But behind this dynamic there is a certain claim to depth, which is not enough for me as a sophisticated spectator and, even more so, a literary critic. Despite this, the film, like a capsule, enters the memory and remains there a kind of energy clot, where there is a wild Russian thrash, and black humor, and bloody mess, from which all the characters come out, as if bruised a finger, no more ... and, of course, the topic of toxic relationships and manipulation between children and parents. It is this ' banal psychology' people with absolutely confused landmarks is taken as a basis ' depth' which does not grow into such.
There is a moment of pity (a man is experiencing the loss of his wife). I mean, there's drama here.
The film takes out at the expense of killer black humor. Very unconventional, honest, so uncooked. Very cool. But this is perhaps the only thing that the director managed on ' Five'.
And, it would seem, why not leave this movie in a comedic vein? No, we need psychology.
It turns out, just the opposite - its complete absence, illogical actions, no inner peace. As if the templates ' father-rapist' and so on. crooked on the heroes. All this makes them characters, but not living people. You don’t believe them, and sometimes you think they’re crazy. And wrapped in infantilism and youth of the heroes, which, allegedly, everything should be justified.
In short, it's a movie for ' not particularly gifted' but I probably don't mind seeing one sometimes. You just have to stop thinking. Just watch and laugh, not really delving into the motivations, enjoy the picture (it is quite aesthetic, by the way). Operator work can be put four with a plus, in my opinion.
A dynamic beginning with a really good staging of fights and a slasher bloody component. Bright colors and clip editing inserts. It is more embarrassing than disgust or delight. Everything is somewhat unbalanced and deliberate in the installation and picture. Then it grows into the promotion of the story itself with a plot that should be revealed in the finale and short branches introducing various kinds of backstory. It really feels like a black comedy in structure, though not funny. Too long pauses, slow plot swing and in general the absence of jokes. Quite the opposite. Some kind of sado-maso for the audience is a psychological tragedy. Well, if you really attract, then there is humor, but it is rather out of place. Or everything else is out of place. Another very strange musical series, the logic of choosing which I also did not always understand and all these editing inserts that look too outdated. At the same time, the story itself is not bad, but rather simple and straightforward. I mean, wow, it didn't work out in the final. By actors. The lineup is interesting. Although I did not expect anything from Kuznetsov, and in fact I did not receive anything. Hayev looks more interesting, but in his usual role. Shevchenko looks good, but her role is almost without words. Craigje is overdoing it. Grievous liked it. Although nothing special, it probably came out most naturally. So all the actors are average, but this is the fault of the directorial framework in which they were driven. Apparently all those dull pauses to catch up on the timing for a full meter. It would make a short film that would definitely look more interesting. The feeling of watching was dull and painful. Probably aiming at the absurd, but it turned out something incomprehensible.
Director and screenwriter of the film Kirill Sokolov. This is his first full-length work. I watched his short film Fire and I liked it better. Apparently, Kirill has not quite mastered the full meter. But experimentation is a plus. I would like to see something from his work. In 2020, his film “Tear and Throw Out” was supposed to be released. But something didn't fit together.
So, in my opinion, this movie can be missed. But for the future, I would give Sokolov a chance.
If nothing hurts, you are dead. The house was burned by enemies, the money went to others.
Synopsis: young gentleman Matvey, armed with a rusty hammer, visits the father of his girlfriend, with good intentions: to bring him brains. Then he will know that he is the father of the Father, and that he is the son of the Father. Andrey Gennadyevich abused his daughter. Matvey is not from the timid ten and aki The Dark Knight (note the emblem of the jacket) prepares to meet the great and terrible oppressor, only the door separates them. But as soon as it opens, all the fuse, all the determination escapes through the window of the entrance. Going inside, Andrei Gennadyevich and Matvey begin games of reason, who will outsmart whom, who will have the last word. He did not have to wait long: the knights had already crossed a hammer and a gun. What happened next? Oh, dear friends, this is what you will find out.
Kirill Sokolov, for a second director-debutant, shot a black author's comedy, which kills 2 birds with one stone: connoisseurs of independent creators and just lovers of a quality product. This is not surprising, because the teachers-inspirers of Kirill were Quentin Tarantino and Kirill Serebrennikov (based on what I saw on the screen I dare to make such a conclusion). From an American, more experienced colleague, there is toughness, blood, murder and all this is presented with a clear touch of black, like tar, humor (a dull sense of pain), all this in the best traditions of ancient Quentin.
But from Serebrennikov here in the first place, this is Vitaly Khaev (hello ' Depicting the victim') again trying on the role 'ment'. But not only this unites the images of the actor: Andrei Gennadyevich personifies Russia of the past (as in ' Depicting the victim' but their characters are absolutely different to each other), while young Matvey is the future, only he was unlucky to find himself in the hotbed of a major conflict, which arose just because of the greed of Andrei Gennadyevich (the analogy is clear as God’s day).
And what is the color scheme here: acid tones. You feel like you are in an acid trip, which makes you wonder about the unreality of what is happening.
As a result, I want to say: friends, support these authors, it is on them that all our cinema is built, and they do not allow us to doubt that ' Russian cinema is in decline' and our comedies are still not trivial, you just need to drip deeper to get to the truffle.
Extremely positive in design, but black in implementation of the film, which washed away to call ' our Guy Ritchie', ' response to 11:14' or ' Western in the style of Kill Bill' but the film is still original, albeit a mix. Live camera with turns-transitions, black humor, cool flashbacks and a non-linear plot. Yes, I guessed about the finale from about the middle, when the whole action began, but still fresh and interesting, and the fact of guessing the point of the final does not mean that you can guess the way this story will go.
Yes, there is a lot of blood in the movie, and sometimes it is unpleasant (it is not a spoil), so it is worth warning about this that if you do not have experience in watching a carbon monoxide movie, then you should not. However, experience in viewing art house here is a must.
On the other hand, there is no special dynamics of the heroes here, and even the main one - but this is rather a feature of cinema to ridicule the corresponding vices of our society - and the young director is definitely shining statuettes, I will follow.
I think I will never get tired of agitating for Russian cinema. For young and talented authors who give their all. Especially if it's a debut. Especially when you see an honest attempt to make it cool. And it looks cool.
“Daddy, Die!” is a black comedy that takes place in one location. The hero of the picture - Matvey, comes to the apartment of the father of his girlfriend. He has a hammer in his hand, and his intentions are very serious. The father is a hardened opera, immediately feels a threat and immediately from the first minutes begins a great mix, full of overheavals, turns, bloody thrashing and frenzy. A sophisticated viewer will say, “We’ve already seen this in Rodriguez and Tarantino.” Yes, the plot of the stars from the sky is missing and is quite predictable. Moreover, there is a feeling of bloating in order to put it in a full meter. But how it's done! The full range of professional suitability of the author on the face. Rides, departures, sharp angles, Dutch angles, sound accents and counterpoints, Rapids and macro shooting. The whole thing was so delicious that it made me exclaim epithets in the spirit of "b**********************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************. Special praise deserves the color scheme of the film. The green and red colors fill the picture with an incredible sura, as if to tell us - we are gestures, but it is a fake. The characters are characteristic and grotesque. As befits the genre.
It should be noted that all this is not imitation. It is a love of the genre and a desire to make it bold. In addition, the number of such paintings in our country, made visually so brightly is very small.
And to be honest is a shame. It is a shame that on the wave of “hatred of Russian cinema” (I write specifically in quotation marks, since there is no hate itself, but there is only a fashion trend to scold Russian directors at the stage of trailers, thank you for this BadComedian), projects such as this do not bring income to the creators. Of course, this is postmodern and bloody cruelty, (albeit stylish) will not go to everyone... The modern viewer, especially the young, eats blood, violence, and black humor with a great appetite. But the Russian viewer in this paradigm contradicts himself. As always, I don’t see it because it’s Russian.
A deliciously bloody mess with elements of black humor. . .
'Daddy, Die' is an example of a high-quality film created for little money, but obtained at the exit as an attraction similar to a roller coaster. In the film, each five-minute dialogue is followed by fifteen minutes of dentition action.
From the very beginning of the film, the creators make it clear that the degree in the film will only heat up. 'Daddy, Die' begins with a young man named Matvey coming to meet the parents of his girlfriend Olga. Behind him is a hammer, which he holds tightly. The door is opened by a father who does not even know about the acquaintance. . .
On the first frames can already be noted excellent camera work. The camera smoothly and without any shaking captures all the most important. The operator literally sets the pace. The close-up of Matvey, uncertain in his actions, tightly clutching the nervous hand of a young man makes the viewer think that now something THIS will begin ..., but no. the plot smoothly slows down with dialogues, and now you think that everything is settled, but again not. . .
This picture is the debut of the young director Kirill Sokolov, who very skillfully uses Western techniques of cinema. The nonlinear plot makes the viewer guess the cause of the conflict. Logical, and most importantly, realistic dialogues, in places with a mat (albeit stuffed), allow you to believe in the situation. The viewer to the very end can not predict how all this will end and of course there will be unexpected turns.
It is worth noting that this is a playful, chamber cinema where almost all events take place in one small apartment, but at the same time the viewer does not get tired of watching what is happening, because everything at hand will go in the course. It is also very important that the film is filled with high-quality black humor, which is boldly woven into the dialogue and actions of the characters.
Strange impression of the movie. The script is a masterpiece. It is a mixture of parable and black comedy, but the parable of its ideological nature makes black comedy not funny, but cynical. A little protracted, but 5 for originality.
To point the camera at the fried cutlets, their terrible hissing accompanied by ketchup splashes, where the role of cutlets is played by people of questionable appearance and occupation, and ketchup - it is clear that, and offer to laugh at the result - the reception in the West has long been known. It was successfully resorted to, for example, by the Coens and Raimi, each in different proportions of absurdity, with each subsequent film turning the blood into a kind of intricate snow patterns on the window. However, the brothers and their good acquaintance could not completely avoid thinking about the red puddle, the most obvious of which is why it was spilled and what it gave. Courage, not as an example of intelligence and talent, was not enough to finally move away from the moral background, which they came to the rescue of another film hooligan without the appropriate education, joking turned all previous ideas about how possible.
And it turned out, a lot: confusing the chronology of events, resurrect the most unpleasant character, thereby finally giving a kick to the figure of Death: cinema is a fiction, we were told, life there is allocated exactly to the resulting timekeeping, look wider. This revelation took possession of many until the end of that stormy decade: they argued with him (unsuccessfully), tried to write off (success is variable). Russia, too, has voiced in some places at this amusing consultation, but its attempts to laugh have been strained, everyone has sat under the red dome for too long, it is too difficult to laugh at blood when there is a risk of getting into the hospital just by going outside. And when everything disappeared, it became clear - to catch up late, the whole movie went into an incomprehensible twilight, in the shadows of which strange people tried to imitate that hooligan, who has long been trying to rethink something in himself.
Attempts by Kirill Sokolov after so many years to work with dead matter in the language of absurdity seems, at first glance, exactly the same absurdity: what can we say here, if people who invented them have strayed enough in the allotted field? And yet, with the same audacity and energy, as if nothing had happened before, a revolution once took place. It is clear that Sokolov is far away, and whether he tried - it is clear that neither. Like any young director, it is more pleasant to demonstrate his technical skills: play with flowers, knit loops from camera movements, rethink the interiors in the style of John Wu. At first, this showdown confuses, then the director often hits them at the target.
The criminal training ground where Sokolov works is adjacent somewhere near social parables. An unnamed young man in a sweater with a Batman badge, preferring action to words, at the tip of his girlfriend finds out the relationship with her father. Looking deeper, he tries to kill him. Under Chekhov’s rules, whose gun now fires multiple times in each act, things are more complicated than thought. The father - a vile werewolf in epaulettes - gave offspring with the same grin, new faces appear at the call to the apartment, in their soul pockets - the motives why this strange Grand Guignol occurs.
The father here is a symbolic figure: such a face is easy to imagine around the neck of anyone who has reached any power - and the power of this abuser. It is difficult to paint with an unambiguous black color, because everything next to it is of different shades of dark. Silently tolerate arbitrariness, however, also do not want to explain the strange muteness of the main character. Not from this world, the guy who reviewed the militants, is full of strength to turn the situation around, holds a blow no worse than the Bride from ' Kill Bill' however, whether he is able to season the actions with the right words is doubtful in what he is equalized with the director himself. He is here not of his own free will, in a place where everything is ready at the click of the shutter to radically change its essence, and the only idea for everything is to try to fight for life in any manifestation, in light of the current events seems really worth it. It is not yet time to bring hopelessness into a separate aesthetic category, hiding behind the works of Thomas Hobbes.
Kirill Sokolov’s debut film “Daddy, Die”, released in April 2019 on big screens, received a lot of enthusiastic reviews from the film community. The black comedy, in the center of which a family conflict on the basis of money, turned out to be extraordinary for modern Russian cinema, although it did not become a revelation. At a time when Russian cinemas are confidently storming military-patriotic and sports films, the young and ambitious are trying to bring something unusual and fresh to this market, which makes them a huge respect. Against the background of other “unusual” and experimental projects (concerning thrash comedies from Comedy Club and the like), Sokolov’s debut looks more than worthy. That’s just unfair that this film we watched catastrophically few people, which once again proves either the viewer does not want to watch or did not hear about such a film. There's nothing I can do about the first, and I'll do my best with the second.
From the first minutes, the film clearly shows an interesting clip montage. The actions of the hero are smoothly synchronized with sound effects and the camera angle. The film immediately begins to dictate the storytelling rule in this film. In level and style, the film can be compared with the early works of director Guy Ritchie, who often used the effects of parallel, clip and dynamic editing in his works. It is possible that Kirill was inspired by this director. But it's not just them. In the beginning, Guy Ritchie's film career was often compared to Quentin Tarantino, he also at an early age came to cinema from the street, began with crime dramas and in the manner of storytelling he confidently stood out from his colleagues. Guy Ritchie after the release, which has already become a cult, the film “Cards, money and two smoking barrels” and the glory that fell on him was dubbed the English Tarantino, even now after more than twenty years, he does not get rid of such a comparison. Without hiding the similarities in the style of the directors, Kirill Sokolov as a true movie lover takes all the best from Guy Ritchie, namely the clip editing and the twisted plot, and all the best from Tarantino is the intricate humor and dialogue, mixed with the rampant cruelty that is inherent in black comedy.
In the film there are no big actors' names, perhaps with the exception of the colorful Vitaly Khaev familiar to all the famous monologue from the film "Picturing the victim" Kirill Serebrennikov, and it is familiar only to a small number of viewers. This fact gives the film a low popularity, because as you know, the absence of big names on the poster follows the absence of viewers in the hall, but I do not want to say that the film lacked them, I just want to justify the film to someone who has not heard about it. According to the level of acting, the film can compete with any representative of this genre in our country and here it will clearly win, without exaggeration. The film does not shine with high drama and the elaboration of deep images, it does not need this here, the mere fact that the actors act sincerely, without a gram of falsehood already makes you really appreciate the acting talent. The outstanding work was demonstrated by the young actor Alexander Kuznetsov. The young guy has an interesting feature - to act out scenes without words, thanks to his atypical facial expression and expressive eyes. I've been saying for a long time that this guy has a great future in cinema. I wish him the best of luck and the goal, no matter what.
Immediately after watching, there is a wild desire to shout at the top of your voice: “They can, after all, when they want!”, which appears not often after watching Russian comedy, especially with black humor. In this film, everything was successfully intertwined, and the unusual editing, and plot, and acting, and music, there is not enough time to reveal everything separately, I just wanted to briefly emphasize all the most important things.
Watch the comedy "Daddy, Die." You will be pleasantly surprised by the debut of the young Russian director.
8 out of 10
Who says black Russian comedy is a myth? Who thinks all we can do is shed dreary tears, glorifying despair, or drive dull TV shows on TV? You really think we don't have our own Tarantinos? You're terribly wrong!
I'm biased, as are you. I've got a pinsne, a glass of red wine from some unreadable apiary, and a proud little pinky. But even this innate intelligence does not give me the right to close my eyes to the boiling energy of our young cinema!
So, the Russian film with the screaming title “Daddy, Die” (2018).
What is it about?
The main character comes to the house of the father of his girlfriend to kill him. Comes with a hammer one to the bat, which is not so simple in fact. This venture results in an epic fight, which would envy Park Chan Wook and his bloody Oldboy. But most importantly, why? is this happening? Why the hell are two noble sirs beating each other in mortal combat? We will know the answer at the end!
In fact, the movie is really cool!
Russian reality, oh, not the one you think about, but the one that actually exists, but is served under the sauce of genre action. Here you have a detective mystery, and regular twists, and black and black humor... The sea of black, the coolest! The mind understands that game happens, but the body can not deceive. . .
Yes, fatality in Russian can be amazingly picturesque! The blood will be a fountain! But. . Attention all faint-hearted. It's hypertrophied, fake, and therefore ironic. We are all here with a sense of humor, so we will not dramatize the beautiful.
For the scenes of the flight of TV in the face and the drilling of the leg, you want to wear director Kirill Sokolov in your arms!
Guys! And my bloodthirsty girls!
I feel the author behind this statement, I see a lot of sadness at what is happening in the minds of people and his desire to convey something human and warm through the bloodbath. American distributors are now hunting for “Daddy, Die” for a reason, and I am happy that a truly strong director has appeared in our midst, whose further works I will wait for!
8 from 10
To the question: ' Why this film was devoted so undeservedly a lot of positive reviews and set so undeservedly high ratings in various ratings?' - there are several answers.
The simplest is the same as 'Crimea' Pimanova, just the opposite. Considering that many domestic critics are fans ' Pimanov on the contrary', foreign people sincerely believe that ' Pimanov on the contrary' is a harsh truth about the totalitarian-communist Russia, and for ' Pimanov on the contrary' runs irrational clack. . .
The most correct, however, because this film has several obvious advantages. They are as follows. The first one is, if you want to cut stylish footage for Instagram, or for a YouTube channel, or for an amateur video clip, or something like that, it will fit like nothing. Second, for those ignoramuses who are now called by misunderstanding film critics, this is also the best film - you do not need to strain to see parallels and influences, but you can bring a review of two thousand characters without spaces in five minutes. The third is for those who want to be known as an intellectual, but Tarkovsky cannot watch for more than five minutes. 'Daddy, die' you can calmly watch one minute in ten like a TV soap or 'Comedy Club' - it will only feel better. Well and fourth - the level of directing in complexity as a whole does not exceed the level of directing the clips of the group ' Leningrad'. Yes, I almost forgot the fifth - as in any video, the action in principle does not sag. In principle - if a mosaic of several-minute clips, sewn on a live thread, can be called ' sagging action'.
This is the end of all the virtues, but if this is enough for someone, then he 'apa, die' you can recommend.
And now for the shortcomings.
The main thing - all this is terrible, nauseous pathos. Paphosno at the level 'Crimea' Pimanov, who was crossed with any 'Armageddon' or a fresh Chinese fighter about the exploits of special forces of China in the fight against terrorists. It’s literally in every aspect of the picture.
The dialogues are terrifying. And it is not in the vocabulary, but in their style. When you watch 'Daddy, die', the old anecdote about the explanatory soldier constantly turns in your mind - why after repairing the wiring to the kindergarten, children began to swear, and the Russian proverb about the cross and underwear. Where did the scriptwriter (aka director and editor) of the film manage to dig up operas that steam from the first to the last frame, like a high calm? ?
However, this applies not only to the two operas, but also to all the other heroes. Everyone is dressed up.
Submit to dialogue and script. Heroes are not only dressed up, but also completely unwritten. The screenwriter-director-editor simply does not realize that the script exists so that, based on it, the actor could create a believable character. Who can we create here? That’s why the daughter hates her father-policeman ' since the age of five ' so much so that he decides to kill him (and why not snitch in the USB?)?
So I see - Vitaly Hayev comes to the set and asks: ' And who should I play?' And Kirill Sokolov to him: 'Well, opera, as in 'Brother' or 'Zhmurki'... And Khaev begins to dutifully copy Sukhorukov.
As I have already noted more than once, the film was shot so that it could be easily cut into advertising futagues. Accordingly, no one worked with the actors. And in this respect 'Dad, die' - almost absolute zero Kelvin. If you draw cinematic parallels, it is the complete opposite 'Reservoir Dogs': also directorial debut, but with a full-fledged acting ensemble and classic examples of acting. There is neither one nor the other.
Given that the main task of the director here was to shoot beautifully, this is not at all surprising.
In the narrative style of the clip, all action scenes are removed. And this is the overload of the frame with unnecessary visual symbols, and unjustified borrowings (for example, the one-to-one final - from ' Needles' Nugmanov, but inserted into a farce). Sokolov did not hear such words as ' style harmony' and ' dissonance' and complete implausibility. Yes, in the clip it all works because it's short - but we have a feature film here!
For example, if a person is hit on the head (directly in the face) with a working CRT monitor, so much so that the screen splits, then ... he will not get anything, not even a bruise! In the literal sense of the word, only a few scratches.
And, yes, of course, if a person wears a T-shirt with the symbols of Batman, then he immediately turns into an invulnerable superhero, who can break monitors against his face, and many times (how many - I did not count, but not less than twenty) his face put on pipes, furniture, and everything that is found in an average Russian apartment.
There are still a lot of disadvantages in a smaller caliber, but I think this is enough to feel the quality 'Dad, die' We are scared, but we are not afraid.
PS Artist-decorator and makeup artist worked frankly poorly. Their salary could be quite saved - it would hardly significantly worsen the picture. Buy ketchup, mix with oil and solvent - just business.
4 out of 10
It's a little overrated. But, on the one hand, the film is sometimes still beautiful, on the other hand - it is perfect for the futages for amateur clips. Cut 'Dad...', cut!
It’s a strange thing when you learn about the existence of a feature film from a report on the BBC, telling about the approving reaction of foreigners who watched it, scattering in enviable comparisons and high marks, obviously admiring the professional form and dexterity of Kirill Sokolov, who debuted in the directorial and writer’s guise, who invented and put what was on his mind.
A curious thriller or anecdotal tragedy on the verge of absurdity, but, on closer examination, a kaleidoscope of difficult life situations falling out of each other with dolls, less or more, denoting miniatures about sins and vices passing on the screen, starting with an outright deception, with which a cunning girl pushes a guy to kill her father, ready for the most cruel game in her life.
But the first thing that catches the eye is the complete equanimity of all participants in the bloody events: both a sympathetic and submissive wife, and her steadily unscrupulous husband, a deceived friend, a bitchy girl and a naive boyfriend who found himself inside, where the entrance of the ruble, and the exit - ten holes in the drilled leg. All the chic is just in the seriousness of the intentions of the director, working in the field of controlled idiocy, where impenetrable seriousness acts as an attribute of direct speech about the darkness of the soul, with which the sincere Matvey – a fool, designated by the Batman sign, fights.
It's actually simple. Sokolov speaks simply and clearly, summarizing sketches of moral and moral revelations, wielding a pen in a furious style left in the workshop of Quentin Tarantino to find a skillful application in our home environment, which remains only the ground for a vivid demonstration of the arsenal of measures and means that determine the fascinatingness of the finished work.
Note ignorance of all parties enhances the explosive effect of the final insight, but the picture is made by the perfect visualization of the script, which Sokolov implements for a couple with the operator Dmitry Ulyukayev, no worse than him who mastered the grammar of provocation, filling the frames with the energy of movement and pauses, compressing the springy timecode, without distorting the subtleties of humor obtained by the impenetrable tenacity of the actors achieving a critically important connection of norm and madness, controlling the entire movement, being part of it.
The fight between her daughter’s boyfriend and her father in the first scene seems to grow into something more, a discussion of family conflicts and difficult circumstances. But no, everything serious is filled with liters of ketchup blood, which, apparently, should become ridiculous. It's a comedy. Or not? To laugh when someone is tortured (and drilled leg with a drill) somehow does not want. You haven't seen Tarantino! I've been looking and watching more. What will this film, made with the money of the Ministry of culture to the country? Romanticization of violence, cynicism (that is, when you realize what is wrong, and you do not care), perhaps another surge of violence that we may never know about. It's not all on the news. There are no specific ideas to use the language of violence in the film. It’s just easier, easier to pour blood into every scene than to invent complex dialogues for the writers and play subtle feelings for the actors. To paraphrase the former minister: if you like 'Dad, die' then why don't you like Oleg Sokolov? There is no message in the film, except for the monologue of the daughter in the finale. But this monologue is torn from a play by a Russian classic, as if there had never been a bloodbath before. There is no need to force the viewer to watch this attraction of violence.
2 out of 10
Matvey rang at the door of Andrei Gennadyevich, hiding a hammer behind his back. He came with only one purpose: to kill his girlfriend’s father. My dad works in the police and doesn’t give up. The bloody confrontation begins to cross all boundaries, and the number of open secrets allows the participants of the battle to reconsider their views on loved ones. . .
Although in the debut of director Kirill Sokolov and read a lot of peeks at Western directors – in the presence of the original script, these techniques look quite independent developments. The plot came out surprisingly entertaining and able to focus the audience genuine interest. The violence in the frame is fervent: inventive, maximally bloody and ruthless. To brand a criminal comedy with liters of fake blood for being too implausible is at least silly, since realism would shift the film from humor to thriller or horror. For Russia, such a movie is not particularly typical, but it has already absorbed all the local flavor from the characters to the scenery - no addiction is needed.
What I want to scold the film for is for the weak actors and for the shamefully clamped few mate. Logically, it turns out that drilling an opponent's leg is normal, and a couple of strong expressions can already make the viewer grab his heart. Of the actors, only Alexander Kuznetsov managed, from whom not a drop of falsehood came. Vitaly Khaev in the image looks interesting and quite formidable, but with most of the replicas copes with varying success. The rest of the caste, unfortunately, brings only disappointment.
“Daddy, Die” is an interesting pen test in the spirit of the adventures of Tarantino and Richie, but for all the courage and strength of the pressure, the film looks like an attempt, not a finished work with its own philosophy. However, if there are shortcomings for the Russian film industry, this is a big step forward, capable of bringing a new genre to the arena, potentially capable of attracting the viewer and bringing the box office.
6 out of 10
There are already many different reviews on this film, and I was motivated to watch it just by their extreme polarity. Well, because it does not happen that there is a cholivar in an empty place - it means that something important in the film is that catches.
Well, I looked, and here's a look from my bell tower - what the film is good, and why the ratings differ so much.
This is an elegantly directed and filmed, cynical, (self)ironic and not stupid film, about all the shit that people have in life, but talk about in our society as a whole is not accepted and essentially taboo (domestic violence, police abuse, corruption, sexual harassment, suicide). And according to the reviews of people, it is clear that they are just bombarded - how so, we are normal people, we can not have this, what a thrash - although they express this in phrases about what the plot is like bad, fake blood (forgetting that this is not a thrash genre clean, but also a stalk, so on) and in general the horizon is littered.
That is, when Tarantino and Richie gesture - it's cool, they, the others, such a treshanina, and the actors are famous, you can't associate yourself, the distance is safe ... but when the same show about a conditional guy from the next yard - already uncomfortable and begins to burn. A little reminiscent of the effect ' sinister valley' - a little more like reality than the classic films of the genre - and now it's scary. So I highly recommend to watch - all except those who have this review began to crack the clasps.
9 out of 10
Olga asks his boyfriend to kill her father. The girl explains the bloodthirsty desire by a childhood trauma, which, according to her, was caused by an immoral father. Justice must prevail - the young man decides, armed with a hammer and comes to take revenge on the house of Andrey Gennadyevich - not quite an honest policeman who does not mind taking a bribe, pressing, and defending who should.
What will happen in the apartment between the young man and the girl’s father can be conveyed in one Russian word, denoting something that defies any description. By the way, such words will slip in the film. Censorship there is not, which can not but please.
The entire trash that occurs on the screen will be accompanied by liters of blood, sweating efforts and broken bones. The story moves thanks to the unpredictable choice of heroes, which in most cases causes surprise and, as a maximum, the contraction of the abdominal muscles from laughter.
The main color of the film is red. It is not only blood, but also lamps, wallpaper and furniture. The same color can be the face of anyone who takes the film too seriously, considering the comedy stupid absurd. However, it is the contradictions of common sense and jokes, elevated almost to the absolute, that make this picture cheerful, driven, unpredictable and fun.
As in the old films Guy Ritchie and Tarantino, the stumbling block in the film is a bag full of money. The young director Kirill Sokolov resorts to ragged editing - a feature listed above masters. Sokolov transports the heroes to a difficult and ridiculous situation that seems hopeless. And then shows the solution to the further development of the scene: examples with handcuffs and respiratory arrest. This scheme works perfectly in the film, each time causing laughter and surprise.
It is worth noting the moderate hyperbolization of the bloody mess, as well as occasionally compatible with the picture musical range. It all looks like an architectural eclecticism, that is, a mess of cult films. Money and the clash of heroes at one point refer to the same picture. Blood, punishment of villains, color of credits and music to others.
In addition to the mentioned Matvey, Olga and her father, in the film there is a melancholy opera wife and Andrei Gennadyevich’s best friend – Evgenich, who is also not sugar and is ready to go to all sorts of abominations. In fact, there are no heroes to admire. It's a humorous phantasmagoria.
When viewing it seems that the entire history of the film can be divided into small short films, which will look insanely funny sketches with an abundance of blood, violence and frenzy. Almost every scene has a seed and an unexpected punchline - a finish that causes the effect of a saggy jaw and wide-open eyes.
Whatever the motives and intentions of each of the heroes, their methods and actions that cause pain and lead to violence, behind them lies an almost elusive, illusory hope for justice. It seems that every hero has his own truth, but all good plans are immediately cut with a knife without any painkiller.
As a result, it turns out such a blood cauldron with heroes boiling in it, smoldering money and bloody seasonings of violence. Those who love black humor and discouraging twists in the plot, the picture will definitely go. Well, who splashing from all human holes red liquid causes disgust, it is better to pass by. Summing up, it is difficult to call the film original and innovative, but a successful attempt to continue the genre of black Russian comedy quite.
The story will tell about several promissors, gathered by the will of fate in one apartment: a street gopnik, a browned daughter, a blessed mother, a father-policeman, but more like an urka. Each of them has their own reasons for revenge, so they more than arrange cross and bloody confrontations with each other. . .
It is not often that Russian cinema delights us with such films. In addition to high-quality bloody mix, the tape passionately ironizes on the topic of corruption and how money spoils a person, breaking his moral foundations. At the same time, the director confronts the old and the new generations, those who achieve everything gradually, and those who act impulsively, trying every minute to transform from an animal into a king.
The whole timekeeping is accompanied by the unrestrained bloody mash-up of the main characters, who with great eagerness maim and mutilate themselves, as if immortal. Blood exaggerated gushes fountains from all human crevices, covering one square meter of apartment after another with ketchup. Staging fights, fighting, shooting - all at an excellent level and is delightful (if you like downhill thrash). The film traces the influence of several directors at once: Tarantino (mad massacre), Richie (gradually unfolding plot), Balabanov (references to the 90s).
The script is written competently, where the plot is served dosed, revealing all the details only to the final. Therefore, interest in the tape is not lost, even if the skirmishes of the main characters are bored (how can it get boring!).
Moral: whoever comes to us with a hammer will die by a hammer.
As a result, a brutal comedy thriller about a frostbitten family, greed and unscrupulousness.
8 out of 10
What our critics do not admire! Only professional skill, visual aesthetics, a certain formal perfection are enough for praise, moral and ethical considerations are not taken into account by them. “Daddy, Die” by Kirill Sokolov – a movie that is shocking already at the title stage, but not only: a bloody banter in the Fortyinsky spirit, postmodern twisting inside out family values and the cements of a modern Bodtsin empire, a nihilistic mockery of ethical and aesthetic hierarchies – all this turns the picture of the thirty-year-old director into an incredibly disgusting, vile in the message, but at the same time impeccable in editing, directing and visually.
When the talents of so many gifted people are diverted to such vile ends, it is a symptom of a serious illness in our art. To my taste, the creators of “Daddy, Die” in the degree of the blood bath surpassed not only Tarantino, from whom they took black humor, and the theme of a bag of money, and segmented narrative, and editing, and super-major plans (it is unlikely that the creators of “Daddy, Die” are specialists in spaghetti westerns, from where they are taken Tarantino), and the aestheticization of violence, but also the king of horrors Dario Argento with his sadistic murder scenes. In general, Sokolov is clearly seen in the “jallo”, and not only in its light version (Mario Bava), interested only in formal experiments, but also in the hard (Argento, Fulci, Soavi), showing violence as a shock attraction.
What is this parable of power and resistance to it no less bloody than its pressure? Or is it an attack on the rosy myths of a society’s nuclear cell so sanctified that even family beatings have been decriminalized? Completely artificial, not even pretending to be plausible scenario scheme, character types instead of integral characters, the absence of drama, replaced by a heap of climaxes. What's all this for? Clearly for some risky generalization in which everyone is good and the nihilism of creators is all-encompassing. Not taking a side in the “family conflict”, Sokolov sorokinsky laughs at everyone, and the degree of misanthropy he spits even Trier with his latest film about a serial killer.
So, “jallo”, Tarantino and Sorokin are the components of this bloody equation, deconstruction, carried out according to all the rules of poststructuralist art, that is, meaningless and ruthless. In the modern deconstructivist world, only one evil is subjected to a powerful attack – hypocrisy, the rest of the evil is seemingly not evil, any nihilism and sarcasm becomes justified if it tears off all veils, if it exposes, demystifies. Even Peter Sloterdijk in the early 80s wrote that the desire to tear off all sorts of covers is cynicism as such.
Coarseness, vulgarization, turning inside out ethical shrines, all this is necessary for our cynical time with only one purpose - to expose the bare truth of material life, behind which there is allegedly nothing. Man is blood, excretion and flesh, there is no soul in him, all this is a branch of discourse. There is only the body, and its functioning, and the stinking death art must show, and the rest, supposedly sublime, must be exposed. This is the maxim of modern de-Christianized secular culture. “Daddy, Die” pits us head-on in all its abomination and unacceptability to anyone who is sick of spirituality and militant commodity-money materialism.
Sorokin in the “Day of the Oprichnik” compared Russia with the new Middle Ages, showing its hierarchy and archaic traditionalism, believing that deconstructivist strategies in Russian art are more relevant than ever, because they are aimed at denial and aesthetic subversion of the status quo. Mikhail Gorevoy is a well-known Sorkin fan who reads his texts for audio books and is present in Sokolov’s film as a marker indicating Sorokin’s influence on the form, concept and message of “Daddy, Die.” Present here and Khaev, all the same cop from “Picturing the victim”, but this time more powerful and influential – a symbol of Russian paternalism, and Kuznetsov, again playing the face of the generation, as in the Gorchila “Acid”, and even Kregzhde – the star of “Give Youth” and, oddly enough, the only lyrical image of the film.
The actors rush between the game and outright banter, but only Hayev fully fits into the concept of the film - he is a grotesque character from the beginning to the don, the rest simply do not know what to play (Ola performed by Cregde is a victim, then a bitch). However, it is difficult to demand the integrity of images from the type-symbols, the artificial schemes of this bloody parable, in which only money has value, but not human life. François Ozon once had a similar film that turned inside out the shrine of the bourgeois family - "Sitcom" (in our box office - "Ratman"), but there was much less blood there, because the emphasis was not on violence, but on sexual deviation.
In contrast to Ozon, Sokolov has a desire to make the bloodiest film in the history of domestic arthouse, because the Western and even more Asian (the same Kim Ki-duk) still can not be surpassed, and the genre cinema of the West (horrors, slashers and just thrashing some Troma), because in Russia it is poor, will not outdo anyone. Therefore, Sokolov occupied a niche in which there were only some “Night Seller”, “Soldier’s Night” or “Dead Daughters” before him – secondary and epigonic tapes both conceptually and formally.
Therefore, summing up, we can say that only trendy misanthropic nihilists who raised it to the banner can watch “Daddy, Die” to the end, and humanists with strong nerves, who, I hope, will have enough restraint not to raise the high and try to objectively understand what is the inadmissibility of Sokolov’s picture in terms of message, and also note that in terms of the form and skill of the film crew, you will not dig into this vile film (which explains my high assessment for such filth).
To be honest, I love Russian cinema with all my heart. Even when there are really successful pictures somewhere abroad, it is impossible to compare with the joy and aesthetic pleasure that I feel when watching good Russian paintings. Fortunately, 2018 was productive both for the Russian audience and for Russian cinema in general.
“Daddy, Die” became a perfect example of a successful synthesis of theater and cinema, I don’t know how the rest, but the company with which I was lucky to see this picture (by the way, use it on the site of “KinoPoisk HD”, a great thing) and personally I have a feeling of a theatrical production with the signature bloody frenzy of Tarantino (although I did not shoot Tarantino, but for such a successful inspiration, I take off my hat). Of course, because of this film lacks scale, but it is not an action movie, almost.
So, what's the whole point of the movie? In principle, there is an answer in the title. The desire of the daughter to kill her father, for evil and greedy reasons, leads her to the idea that it will be quite legal to engage in such a dangerous and immoral act with her own hands. Therefore, we need a person who is able to decide on such an adventure, preferably for free and without unnecessary questions. Just at this moment in the storyline, and wants to break into “the hero of my childhood dreams, the storm of assholes and the cause of girl’s tears” – Matvey. The guy is not particularly talkative, apparently learned the formula for the success of films about the walk of the most stylish (after Austin Powers of course) hitman John Wick. Our hero seems to have escaped from Russian fairy tales, with all that comes with simplicity and faith in the truth. To put it bluntly, many may consider his actions stupid and ill-considered, but what is inherently justice in our world, as in the eyes of others look like defenders of faith and truth. But despite all this, Matvey attracts the viewer and worries for his future fate are getting stronger every minute.
The rest of the characters can become full participants in Balabanov’s films. It would be inadmissible for me to talk about them, since each of the remaining participants in this entertaining story should reveal themselves and without third parties, dare! Special thanks to each actor who played in this film, without their dedication, the viewer could easily miss so many colorful and written characters.
In conclusion, I would like to thank the director for such skillfully done work, only a few minor shortcomings (or I personally did not like some camera decisions, only you can find out) separate the film from the future classics of Russian cinema. It becomes ugliness sad when such pictures do not reach the mass audience and as a result do not collect the required amount. But as they say: a true artist only after many years comes to fame.
No matter how people scold Russian cinema, but good films in it is enough. However, almost all of these films are rather authorial and are not designed for the mass audience. Mass cinema in Russia is a huge problem. The phrase “Russian comedy” has long been a household name. And good thrillers in Russia as if not removed at all. That’s why I didn’t expect much from the movie “Daddy, Die” when I sat down to watch it.
A young woman asks a friend to kill her own father. Immediately you can feel the great love of the director for Quentin Tarantino. The film was clearly inspired by Reservoir Dogs, as there is a non-linear narrative, as well as inserts that reveal some characters. The plot is quite twisted and gives us a lot of interesting twists. There is almost no message in it, but that is the whole point of mass cinema. There's not much humor in the movie and it's very black. It mainly consists of the stupidity of the characters, violence and editing inserts. Making violence both cruel and funny is a rather difficult task, and the director more or less coped with it. Sometimes it's pretty funny.
The main advantage of the film, as for me, is the editing. He is especially good in the first half of the film. There are a lot of interesting pieces that complement the film. I liked the violence. In the first scene like this, I could feel every beat and every pain of the characters. The music is also good. Finally, instead of “Green-Eyed Taxi”, something original and suitable for the film sounds. The actor is average, not because everyone plays average, but because everything is unbalanced. Hayev, for example, plays well, and, for example, Creggede is frankly annoying.
More Russian cinema of such films and may be in Russia and would not be afraid to go to the domestic comedy or action movie in the cinema, but, alas, such ideological directors as Sokolov not so much.
7.5 out of 10