Ala Nikita 2 with a Russian tint in cranberry-supple sauce. Again, that stark contrast. If Russia, then necessarily drunkards, grayness and love pleasures secretly in the closet among the mops. That banal air conditioning for several years at the second person in the KGB these armless Russians can not fix. When events in the civilized world occur, clean parks, majestic cities, beautiful resorts, happy people and high technology. In short, we got it. Also, almost all female characters are strong, strong-willed, wise. They beat men in everything. Better to fight, and just smarter. Male characters, on the contrary, are more like rags. Although in the plot they seem to be cunning and dangerous, but in fact not very. I am silent about the realism of what is happening, because it is so obvious that the fairy tale is a fairy tale. In general, the film at best can be seen as a one-time spy action movie, but no more.
The film is very good - beautiful, the music is perfectly selected, the actors are good. Do not take seriously, it is clear that this is a parody, a banter, like much of Besson. Perhaps the main disadvantage is that the film was shot in time, the topic has lost its relevance. And if lately the cold curtain has become closer, then I do not want to joke about it. Here I have the main dissonance, did not really understand why this film was needed at the time of shooting? If just as an entertaining movie - well, it turned out, but only the mass audience for box office it hardly went, other young people now jokes.
It couldn't have been.
But the imagination of filmmakers is limitless.
In some scenes, apparently, the extras were recruited right on the spot, as sometimes you can see that they are curiously looking directly at the camera.
We don't understand what's going on here. Whether spy something, or a girl-cinderella modeling agency from Russia to Paris. . .
Beauty is a terrible thing, fleeting, which makes it even scarier. The fate of beauties is unenviable. For a while you are a model, a movie actress, and then you will be forgotten, so you need to quickly hahal (rich laugh) to find yourself. And our lady also finds someone from St. Petersburg.
Funny caste. Delusional story. This could have been written in the 7th grade. Wasted money. It would be better if the poor were given burgers, and then more useful.
But can we get something out of the unnecessary...hmm...needed? Let's get something out of here.
Funny stereotypes about Russians. Moreover, they judge all Russians only by what they know about those who went there with large sums of money (most often stolen). I think then we should judge Europeans in the same way that they make themselves in movies. And this movie is incompetent, for example. Luke Besson is incompetent? Yes, this is possible, because people change ... once they knew something, and then buried their talent and are lazy to dig it back.
Strangely, they managed to get so much stuff in the movies from the wrong time. Even Niva... Niva, in which the rear headlights even updated are already issued as Soviet, although the headlights were changed after the collapse of the USSR. At least one era consultant would be hired for a change. But there are a lot of different techniques and other things from the wrong era ... not from those eras. Not to mention a bunch of neon and other signs that can be seen in Moscow during the Soviet era, even with foreign names and stylish plastic windows. But it's all lyrics. We don't care. And just to make sure that the viewer understands that he is not in Russia, but in the USSR... you can catch a glimpse of the inscriptions everywhere... USSR. It is logical that the Soviet citizen should not forget where he is. In France, France is probably written on every corner, so that the French do not forget and remember that they are in France.
But not everything is so bad, because even such a level of cinema, the conditional West almost no longer supplies us for some reason. They say they're just having a bad movie today. He can barely breathe on incense. Another 5 years and that's it... again the global financial and other crisis. There will be no west, as they say. Then they will sell us the rest of their movie for pennies ... for 5 kopecks, maybe we will buy.
But caste is fun. The play itself is normal, if not delve into the general plot, but watch each scene / minifilm separately. It's a pity they were chronologically shuffled. It would have been better to go one by one in the right order.
Her name was Anna. That's almost all we know about her. We know a lot about her professionalism, for example, one day she went to work without checking the gun... not realizing by weight that it was not loaded. Well, everyone is wrong at first.
I wonder why the French often dream that in Russia they train local Jason Bourne girls. They have such sexual fantasies... or only Luke.
Well, it's a normal movie. We can watch. You might as well miss it.
There's another point. Whether intentionally or not, the author not only shows a certain setting, spy or whatever, but also “wets” some painful stereotypes... subconsciously. We think of it ourselves and understand it.
Anna (2019) was the movie I saw at the right time, the right place and the right condition. When I first saw this movie, I was 17 years old and I was a different person (which I have a long story to tell, it’s inappropriate here). At that point in my life, I loved this movie. It went off to me, I remember that. I’ve even added to my list of favorite movies I don’t let anyone in. For me at the time, this movie was literally like a dream: licked, luxurious, where everything is just expensive-rich. And also from one of my favorite directors, Luc Besson. He made so many memorable movies that I grew up with. And when his Anna was new and fresh, it seemed to me like the apotheosis of his brilliant career.
And then there were some unsolicited changes in my life that really changed me and fundamentally changed my worldview. But it was like a flower. It just so happened that one day I watched (not completely) one of the interviews of the leading actress, where she opened up to me from a very unpleasant side, uttering several very offensive statements. From that moment on, I hated Sasha Luss.
And yet something prompted me to revisit Anna.
Sad to admit it, Luca Besson’s Anna is the best representation of Russians in Hollywood cinema in its history. Unfortunately, it is. Although I think it would be more correct to say "Western" or "American"; because, if I'm not mistaken, this movie has nothing to do with Hollywood.
The main character of the film, a Russian girl from Russia, is played by a Russian woman. Usually, American and European films do not bother with this and casting for the role of Russian does not include the need to be Russian. And here the selection of the actress for the key role at least somewhat pleased me.
It shows respect for Russia and Russianness, it is pleasant. Moscow was filmed here – believe it or not – in Moscow, not in Hungary or the Czech Republic. If the film showed the regions, there would be a class in terms of the representation of our country. And almost all iconic places of Moscow are present in the frame.
There are also purely Russian panels, which is also a tribute. First, we are shown a primordial Soviet hut, where Anya lives with her man-abuser (Sasha Petrov), whose interior is well recreated. A little later show the house on Domodedovo street, where Anka will temporarily settle. And this house looks quite Russian only from the outside, but Anna's apartment is not. As soon as I saw these choirs, I gasped.
In general, I liked the fact that the movie was shot in Moscow (besides the scenes in Paris, which is where most of the action of the tape takes place, Milan, New York and somewhere near the sea); that the fight takes place in a Moscow restaurant. That when Anna runs out after a fight with the KGB, you recognize her native streets. With the atmosphere and authenticity of the local Russia is almost complete order.
Yes, the 20th century is poorly recreated and 2018 is striking. Yeah, there's some cranberries, but A's probably not on purpose; B's pretty, man. Remember how Anna comes to the restaurant on a mission covered in furs, in the hat of the Zhivago style. You look at her and you think, ‘Kapets, why do Russians look more like Russians in foreign films than Russians themselves?’ I mean real life. Most of us are so eager to look American that we forget how beautiful our culture is. Many complained about the film, they say, "Ah, stereotypes: again dolls, avosaks and fur hats, pots." I'm sorry, what's wrong with you? First, Besson is a Frenchman, and even if he wants to, he will not be able to portray Russia with 100% authenticity. Go make a movie about L.A. and I'll see what you get. And second, why is it bad to remind us of the richness of our culture? Personally, after watching the picture, I wanted to buy a nesting doll for myself, because I do not have one. Down with Westernization. The Russian style is beautiful, stop rejecting it.
The main character is revealed and has character. Think of Johansson as Natasha Romanova. Her character received no disclosure at all, even in her own solo album, she always had very little screen time and was only a function/sexual object. Okay. And here the main character has a lot of time to reveal. She's smart, cunning and resourceful. She's reasoning. She's not in second place. There is a lot of attention paid to her.
The shooting itself is very spectacular. Well, it's bullshit when the cameraman is Thierry Arbogast. He has been working for Luke for a long time and, of course, managed to fill his arm for a long time. Very strong, glamorous, clipmaker-like, but not without psychology and depth. There is also a powerful installation and composition, staging of personnel. Find a balance between the lightness of the picture and the seriousness of the picture.
Now to the minuses. I didn't like Sasha Luss as Anna. I swear I'd be better suited for this role. Sasha is not very beautiful and charming, and sometimes disgusting. The peak of her acting skills is the look of the Snow Queen (and blue lenses in front of her eyes), which in principle is capable of almost any woman. She can speak English without a Russian accent, but she can't play at all. She doesn't play well. Not terrible, like Petrov, but very bad. And if in the English version she plays very badly, then in the Russian dub she plays terrible bad. Sasha herself duplicated her heroine into Russian and she was terrible. Terrible accent, real market grandmother, torture to the ears.
The only thing I really liked about Anna’s character was her platinum blonde. I remember the first time I saw her white hair and I was envious. But it's just one wig thing. Therefore, there is no merit of Luss in that, I repeat, no. Not the slightest.
The film is licked, glossy and pathetic. For some it is a plus, for me it is a minus. I noticed that Luc Besson is very fond of endlessly showing luxurious hotel apartments and luxury restaurants in his films. And neon lights he often uses. This neo-barro pathos, this kringe bombast is present in almost all the films he directed. No simplicity.
'Anna' lacks humor. It is sustained on the most serious tones, but it looks even more comedic. More like a parody. Like a very expensive parody.
There was another cranberry bombing in the movie, but I tried to look through it and I liked the movie. It is beautiful, interesting, stylish and entourageous. The film contains a star cast (not counting Petrov) and quite realistic battle scenes. The film tells us about the confrontation between the KGB and the CIA. And in the center of this confrontation is a girl named Anna. The main character herself is a very interesting fruit, but you can learn about her from the film itself. In my opinion, Sasha Luss played her perfectly, with the right amount of expression and mystery. The film also has a philosophical message that talks about the importance of freedom in human life. In general, about what freedom is. In the film, I was very interested in Kylian Murphy. He really paints the film just by his presence, and he played it very believably. When it comes to battle scenes, they are very realistic, like John Wick. Ammo runs out, fights are given to the heroine with difficulty, she is often afraid (she is not a Terminator). The last plus of the film is the song My Beauty. She fits the credits perfectly. The disadvantage of the film is the scenery. Especially crooked shot Moscow, where like 90 years, and the streets drive cars from the 21st century. Sometimes it looks very funny. Plus, the very degree of cranberries in the film is quite high ... the evil KGB always causes a slight laugh in the Russian audience. In short, the film can be seen once. Quite interesting.
Interesting, quality film. Looking at one breath and holding in tension. Excellent acting, unexpected plot twists, perfectly conveyed atmosphere. I definitely recommend watching it.
What, according to the authors of the film, is a job in the KGB? This is not to steal the secret of the atomic bomb from a competitor’s country, not to prevent a world war, not to improve the lives of their compatriots. And this is just to commit contract killings of wealthy people, it is unclear for what purpose. In fact, the moral and ideological purpose of Anna's operations is not reported, so her motivation quickly fades. The main thing for the agent, according to the idea of the authors of this “deep-thinking” picture, is not to serve their homeland, not to reveal enemy spies, but to get out of this meat grinder, where Anna is used as consumable material, where not today so tomorrow the girl will be allowed to feed fish in a cellophane bag, with a cobblestone tied to her long slender legs. Working for the KGB or the CIA – what does it matter? According to the authors of the film, there is no difference. I consider the film ideologically custom-made, but not in terms of patriotism, but vice versa - in terms of anti-Soviet. Let me say right away that I, like most people, do not know what it was really like to serve in the Soviet special service, but the movie reeks of the worn-out clichés of “these bad Russian guys” against the background of quite respectable American agents who “don’t abandon their own” and generously pay for their work.
Instead of bribery, sabotage and covert murders (poison) – outright muzzle, where a fragile girl stacks “bad Russian guys” with stacks (and even crowds of soldiers at a military base, Karl!). Instead of intellectual conversations, cunning and entourage (as in the same James Bond with Daniel Craig) – suffering, tears and stabbing. Knife and tears.
At the end, there is an “unexpected” denouement, which put the final point and added even more negative from viewing. They'd better leave it as it is. At least there would be some plausibility and drama. But no. The ending was less plausible, the more anti-Soviet. I do not know why, but for the life and future fate of the main character there was not the slightest desire to worry.
4 out of 10
Not a bad plot, in the style of the legendary 'Nikita', but ruined by the bad directorship of no less legendary Luke Besson. Sasha Luss is not suitable for the role of a spy, especially Russian.
Luke Evans somehow saved the movie a little with his play, and there is nothing more to cling to. The fighting scenes are disgusting. Sasha in the spirit of Rimbaud mows whole detachments of security and special forces ... somehow twisting, skating, pulling out a lot of shops ... from where, I am afraid to assume.
The first scene with the elimination of some mafia just killed ... The well-trained spy did not notice the absence of the store in the gun. The first thing an agent does when receiving a weapon is to check if it is loaded. It's like instinct. And even if she had forgotten, did she not notice, simply by weight, that the gun was much lighter than it should be? And of these blunders consists of ... well, literally the whole film.
Again... There was simply no boss in KBG who ruled like a dictator. There was a multi-level hierarchy, like the State Department in the United States. A lot of departments, direct submission was not. Each department did its own thing. And the liquidators are the 6th department of the KGB, one of the most secretive and directly controlled by the highest organs of the CPSU.
All in all, it’s a good idea, it’s a disgusting production... the average performance of the actors, the standard stupid scenes... I don’t know what happened to Besson.
Long postponed the viewing of the new film by Luke Besson, it is painfully ambiguous opinions about him, but decided... What to say, I really liked the movie. I have not seen such a high-quality film for a long time – the visual and musical range is impressive, the plot was also not simple. Only the unexpected appearance of Petrov in his only role caused cognitive dissonance for a while, and for the rest I am satisfied!
Perhaps there is not a single devoted moviegoer who would not be familiar with the name of a truly cult cinematographer Luke Besson. For several decades of his work, as a director, Luc Besson gave the viewer such magnificent films as Leon, Nikita and The Fifth Element, and also noted as a screenwriter and producer of a considerable number of high-profile works. However, contrary to most people’s opinions, I personally always considered him an overrated filmmaker who only produced a few decent works and nothing more. This film by the director is another proof of that.
The events of this tape are developing in Moscow in the late 80s. The KGB recruits former drug addict Anna, in which the recruiter sees great potential and talent. Over time, Anna becomes an experienced and one of the best operatives. But everything changes when life in lies and in the crosshairs she gets bored and on her trail are CIA agents. Anna decides at all costs "to retire."
One of the main drawbacks of the picture is the script. Obviously, with the productivity with which Besson creates various films as a director, producer and screenwriter, it is very difficult to refrain from self-repeats. What he proved in this tape. The script of this tape is another transfer of the previously shot Besson "Nikita". Not counting the fact that much of this story is taken from the scandalous “Red Sparrow” and not bad enough “Explosive Blonde”. As a result, creating the impression of not a whole work, but a solyak of several paintings at once. Only aggravating the situation with numerous flashbacks and transfers to the past, which are designed to play on intrigue and reveal the details of the past of the heroine at the right time. But in fact, they only destroy the integrity of history and create the impression of an uneven, unstable and crudely written history. Where everyone sleeps with each other, each other is betrayed and this is reflected in the intricate tangle of events.
Perhaps once Besson and was quite a talented director, but in recent years he has betrayed one negligence after another. Even “Valerian” though it turned out not bad enough, but a traditional pop-corn film without any creative and author’s handwriting. Here and in this tape, Insom does not at all try to awaken the inner creator in himself, but only looks in the direction of "Red Sparrow" Lawrence and "Explosive Blonde" Litch, whom he tries to willingly quote and recreate on the screen. However, all this seems only a miserable copy. There is no emotional background behind the picture. The picture itself creates the impression of a film of the category B. Action for the action film is catastrophically small and only one cool scene of a fight in a restaurant is frankly not enough.
Besson always had a weakness for the tall and blonde models he wanted to make in his films. The case of Angel A and Explosive Blonde is particularly telling. Here in this film, the choice of the director fell on the popular model Sasha Luss. In the model scenes, Luss plays very convincingly on the screen. Which is not surprising given that she is actually a model. However, when drama is required of her, the actress plays out of hand badly and watch such a fake game with one torment. Not to mention how cardboardly she plays the spectacle scenes on screen. Luke Evans and Cillian Murphy played well. Unless you count how cardboard and flat their characters are in the story. "Star" of the domestic cinema Alexander Petrov noted the usual role of cattle, but with a criminal present. The role is convincing. But the character itself does not play a significant role in the story and seems frankly unnecessary. The only strong link was only Helen Miren, who got a complex and ambiguous image and played his actress simply magnificently.
4 out of 10
Anna is a rather pathetic attempt of the once famous and respected director Luc Besson to remove his answer to “Red Sparrow”, “Explosive Blonde” and even surpass the “Nikita” shot in the dawn of strength and talent. But unfortunately, it turned out to be a pathetic fake with an overly torn and confusing script, not original and weak directing, as well as one-dimensional acting, which was clearly bound by the poorly written characters in the framework of the script and the lack of acting experience of the model Sasha Luss.
“Besson is not the same, Besson deflated...” and yes, indeed, the last films of the director do not shine with high ratings, and the legendary “Nikita”, at the time of the release of “Anna”, was almost 30 years old. Maybe for this reason, Luc Besson wanted to repeat her success, especially not so long ago, films of this genre, such as “Explosive Blonde” and “Red Sparrow” were released.
Recently, there has been a fashion about female spy movies, where the main characters are such beautiful girls-toys in the cruel male world, unfortunately, “Anna” is not saved even by the beauty of the main character.
The plot is nothing new, the beginning seems to be fascinating, the ending is clear at the beginning, but the beautiful face of Sasha Luss does not distract attention from such bright inconsistencies as: the Internet in 1990, online questionnaires, cell phone brands created later, and most importantly, cases that victims and not just lovers of the main character, necessarily took with them to meet with her and naturally with confidential information, also put in a prominent place.
I don’t know how the director lured Luke Evans, Killian Murphy and Helen Mirren into this depressing action, maybe they didn’t have any other projects at the time or just couldn’t turn him down.
Petrov, who changed another jacket for the role, also does not save the situation.
And it seems that the image of Anna is worked out – such, who lost her landmark, after the death of her parents, a fragile unhappy, “crippled” by circumstances, a girl carrying on the street avosaks with onions and carrots. A girl looking for this lost parental “intimacy” in someone, even in her boyfriend, a drug addict, desperately calling him to go home and at this point Anna even begins to believe... And then the director presents us with something like a biomachine, which immediately behaves like James Bond before Daniel Craig came to this role, urines bad uncles almost without a scratch, apparently has a steel skeleton, shows almost kung fu. Well, maybe all these 4 years she studied with Pay May, who knows, we are not shown this, so it is difficult to believe.
Throughout the film, the director draws parallels with “Nikita” and it is the eminent director who is the only thing that unites both films, otherwise “Anna” is bad in every sense. Maybe this is just not the role of Sasha Luss, maybe the director made a bet not on that, and maybe on that, in any case, the camp was divided into pros and cons, I, of course, pros.
P.S. Of course, I recommend it, because sometimes disappointment is more useful than charm.
I liked and intrigued the plot of the film “Anna” from the wonderful director Luc Besson, the legendary creator of “Nikita”. In the center of the picture is the story of Anna Polyatova, who works for the KGB and performs various secret tasks. The film left mixed feelings, because it evokes sublime feelings, which in most cases are broken by illogical script moves and blunders visible to everyone.
PLUS:
1. An intriguing story that keeps the viewer in suspense until the end. It is impossible to predict how it will end. The finale leaves some mystery and uncertainty.
2. Excellent cast. In particular, I couldn’t take my eyes off the beloved Helen Mirren, who just amazingly fit into her role. I also liked the performance of Sasha Luss – everything was precisely and clearly verified in her looks and gestures. And now the popular actor Cillian Murphy, known for the series “Peaky Blinders”
3. And where without the vast geography of this film, capturing stunning views of cities. Moscow, Paris, Rome – you can admire endlessly.
MINUSES
1. Historical inconsistencies. In the frame often get modern cars, bus stops, taxis, which were not in 1990. In addition, at that time, every Russian had no laptops, flash drives, or free Internet at home. Moreover, none of the Russians will believe that in order to enter the KGB you had to fill out an electronic form, which was later sent over the Internet. Also ridiculous is the scene at the ATM, which is one for the whole of Moscow and it is so easy to approach and rob. Just in their interviews, Petrov and Luss said that they told the film crew what was in Russia and what was not. But in this case, it is not easy to be surprised by the ignorance of our features by the Americans, who are said to be making significant preparations for the film, but also by our actors, who could simply clarify with their parents.
2. Indiscriminate love affairs of the main character, which are not justified by anything. As a result, it is impossible to know who she really loves or does not love anyone at all.
3. Many of Anna's special assignments are also unexplained. Sometimes it is not clear why she killed this or that person, what he did or interfered with, even become sorry for these people who fell for nothing.
4. Mass combat scenes are filmed as in a computer game, where you are sprayed with bundles of blood on the screen, and even filmed as an ordinary shooter on a computer, where even men do not oppose you.
As a result, watching the film can capture you, but later, when you start thinking and reasoning on films, you will get a huge number of inconsistencies and blunders.
6 out of 10
Well done, Luc Besson! Hellen Mirren is terrible in those glasses and she's unmatched. Sasha Luss is amazing, too. An unforgettable pastime. A film in the style of the James Bond films. Lots of gunfights, banter, and light stuff. Only the humor is so subtle that some will not notice. So they need something else.
“Anna” – this is how Luc Besson decided to show the background of the CIA and the KGB. Thriller in the genre, a la Russian spies was supposed to be something original in the career of a world-famous director. But for some reason, it was a failure.
The very idea of a Russian spy who, under the guise of a model, performs various assignments for the special services she works for is not new. However, by the middle of the picture it becomes clear how the director wanted to stand out with his work.
The cast pulled their eyes throughout the picture. On the screens of cinemas quite often you can see a mixture of Anglo-Russian characters. Model Sasha Luss became the main character and problem of this film. The greasy face, leading the male half of the picture by the nose, got bored after 10 minutes of viewing. If at first it was interesting how the girl from the market accidentally falls into the hands of the representative of the agency, then the viewing becomes simply unbearable. One wonders why the director sees a Russian spy like this. Absolutely no connection with the presentation of Russian models. Take Irina Shayk as an example. A stunning woman, with beautiful forms, you can immediately see a representative of Russian beauty. On the contrary, nationality is not understood.
The other half of the female cast did not stand out except Helen Mirren. She was the only actress who enjoyed watching the whole movie. It is a pity that her character was not given as much time as I would like.
The KGB and CIA agents were Luke Evans and Cillian Murphy. It was because of them that I was able to see the picture to the end. However, Luke did not look like a representative of the USSR. In my head immediately associated with all the criminals he played. And the role of "mentor" somehow knocked out of rut. With the work of Killian acquaintance is not as close as we would like. But he's a fantastic actor, I guess. Here he played some weak American agent. He was weak because he showed almost no emotion. Because of this, his character becomes very pathetic, and you begin to get distracted from the main plot.
Sasha Petrov – certainly not expected to see him in such a loud picture. Of course, if you google the actors of the film, you first know about his presence. Here, his role begins with his fifth point in the frame. The only plus is that the director made the right choice in favor of his screen time.
Another problem with the film is editing. Half the meaningless scenes could be cut. For example, Anna's relationship with another girl. Such an unnecessary storyline, which even in the end does not lead to anything. This is a film that shows first what happened and then what the conditions were. In total, the picture can be divided into two chapters: the USSR and the USA. Who are connected by the presence of this wonderful spy.
Besson’s previous work “Lucy” was not the strongest in his career, however, the plot was exciting. There was no tension at all in Anna. Everything was so predictable that after watching you do not understand why it was filmed.
I was disappointed by the lack of an interesting soundtrack. In the scene with the photo shoot inserted so banal music for the fashion show that you think that more creativity was not enough?
In the end, the thriller will be a typical story about espionage. So typical that you really come to the conclusion that Petrov is to blame. Poor Sasha was so playful that he decided to ruin the life of foreign directors.
Cranberries, cranberries. For someone, this is a sour berry growing on the swamp from which make the fruit, and for film lovers, cranberries are a genre of films that does not correspond to one or another real stereotypes. Personally, I have nothing against this genre, but cranberries need to learn to shoot. Such films as Red HeatWalter Hill and Red ScorpionJoseph Zito vivid examples of this genre. What I saw in this film neither words to describe nor swear.
Luc Besson thanks for Leona, Nikita, Lucy, but what kind of idiotic movie did you make? Honestly, the movie is so disgusting that I want to go out and shoot myself after what I saw on screen. What will go into the main details of the film.
1. Plot.
Besson, and you read the history of the USSR and what functions the KGB performed in the country. Huh? What ATMs are in the USSR? What Internet? I'll explain.
In the USSR, there was no internet. After its collapse in 1994, the domain was registered.
Secondly, ATMs that issue money first appeared in the same year 1994, and in the yard excuse me 1988.
The atmosphere of the film is not good at all. All over the world it is sunny, bright, and in the USSR snow, frost and “Evil” RUSSIAN KGBSHINIKS & #39; who cut off the heads of the Americans and send them back to America. What is this nonsense?
Fourth. The KGB is depicted in the film as an organization that deals with the elimination of undesirable subjects throughout the world, and not as an organ of state security that stands for the protection of the interests of the Motherland and the Fatherland. The KGB in the Besson universe is an ICA from Hitman, only instead of a bald clone-killer, the girl who enters into almost every man for the whole film enters into intimate relations ranging from Peter performed by Alexander Petrov, whom I did not expect to see in this film, ending with Killian Murphy.
2. Acting.
For the whole film, Anna performed by Sasha Luss could not play as expected. The whole film was shown how she kills, and then served sexual pleasures. That's all.
3. Selection of actors
Was it possible to choose another actress for the role of Anna, rather than a model from the catwalk? Answer: You can. But the director decided to take it.
Luke Evans does not play the role of KGBman. He has no charisma, charm and composure.
The only one who plays more and less is Killian Murphy. That's all.
4. A lot of historical inaccuracies.
Like I said above about the Internet and ATMs. I would also like to add cell phones and laptops. That's bullshit. It is like showing tanks and aircraft in a film about Napoleon.
Output
Would I recommend this movie to watch? Of course not. In general, if you want to see a good movie about killers, then watch the Hitman John Woo and Xavier Gens Hitman. Well, this is 'cranberry cocktail' which you want to pour and do not drink it again. I'm talking about this movie if anything.
If you feel so bad, change the situation and conditions for a comfortable, warm and satisfying life, even if you are a Soviet drug addict, live in the center of Moscow with a beating husband-bandit and fill out a resume on your own laptop.
Is it still the same? Try to look at everything from a different angle and work with your thinking. A person starts the mechanism of finding new solutions and begins to act actively when he feels his life rotting, crushing his heavy obese body. In other cases, he experiences patience, will and conscience.
A person begins to wriggle in pain - and in his torment to understand that he is able to hurt another, in order to prolong his own life. A person begins to understand how many faces he can have, to discover new sources of strength and opportunities, to shock. A person is capable of being a hired weapon in the hands of a political system that, by accepting and teaching its offspring, claims absolute power and control over it. The system gives man life within himself, only it promises him much, and man receives little for his work. And then the student launches his strategy on power, creating his personal game inside the acting - and voila, surpasses his teacher.
On the screen, a panorama of the Bessonian experiment “Matryoshka” unfolds, in which bright characters are involved in the role of unearthly beauty Sasha Luss, cardboard characters Luke Evans and Cillian Murphy, static Helen Mirren – and Sasha Petrov is chosen as the trigger lever of the destruction mechanism.
“Anna” is a movie for the viewer, who needs a lot of special effects, changing bright pictures, maximumism in the transformation of human capabilities and least of all attention to the technical part, to camera work and high-quality atmospheric soundtracks. Given the concealment of a lot of significant facts of the biography of the characters, their training and activities, fixation on repetitive fragments, with reference to certain places and objects, as well as a dated divergence from the development of the spheres of need and demand, the content of the film is - and it definitely includes a weighty argument for the life, preservation and improvement of the moral and personal appearance of any person.
To view - at the request of the viewer. Impressions will remain, definitely.
Thanks for the movie. Enjoy your viewing, everyone.
I've never seen a bigger bullying of the KGB or the CIA! This film went through almost all the movie cliches about the special services. A wonderful ironic action movie.
The once great Luc Besson in recent years makes films of very dubious quality. So the last at the moment, the picture of the eminent director suffered the same fate - the film failed at the box office, and the assessments of both critics and viewers leave much to be desired. However, personally I liked Anna & #39, but not because Besson finally made a great film. It's just the opposite - this picture from the category ' so bad that even good'. Frankly delusional phantasmagoric plot catches it with its phantasmagoric. What is happening on the screen really causes some interest, because the story in the key of its delusions tries to throw twists every now and then, and does it surprisingly well.
Narrative ' Anna' built quite interesting way. The story goes on until it reaches an unexpected turn, after which time rolls back for a number of months or years, and the viewer is shown events that explain in detail how Anna reached the previously shown moment in her life. And there are a few things waiting for us. I found this approach funny, and the film really managed to surprise me with a couple of twists.
On the positive side, I also note the cast. In addition to the pretty blonde Sasha Luss in the role of Anna, not the latest actors got into the cast. Luke Evans, Cillian Murphy, Helen Mirren, even the ubiquitous Alexander Petrov ran for a small role. The only problem is that all these people have nothing to play, since the characters themselves are not too interesting and cardboard.
There is almost no action in the film, oddly enough, and in fact there are only two large scenes. The first and only one that deserves to be mentioned is in the restaurant that I liked in the trailer, and it's really insanely good - great production, very good editing, in general, amazing spectacle. Oh yes, there is no realism in terms of action here absolutely, everything is filmed in the spirit of Matthew Vaughn's films ' Kingsman' and personally I had to like it.
So what do we end up with? 'Anna' is a real, in modern slang, kringe. Defiantly stupid story, a bunch of cliches and cranberries - it feels like the film was originally shot like this, a kind of 'grindhouse' from AAA cinema. I understand why 'Anna' was not liked by many, but I personally enjoyed the film with these shortcomings. Of course, I will not recommend watching, but the tape lifted my mood.
I looked at it from a model point of view, with a model scout next to me and with representatives of an international modeling agency behind me. All the people from the modeling came to this session, as if to support their football team from Ust-Zakhadny, which plays with the Spaniards.
And the result is generally clear, but ' as Petka - there is our ' - everyone should see.
All our broke through, – are removed by Luc Besson! – that is the meaning of the vision of the picture with a voiceover translation, truly French.
Most often, real models come from the village, and an example of this is the path of Natalia Vodianova. Paris is their special dream, unattainable in principle. Life in a model apartment is a fairy tale. And therefore, showing, albeit from a small side, an easy underside of the model, with the center in the figure of Sasha Luss, is perceived by those involved in the model world as something worth looking at.
The whole picture is like a clunky speech of a translator with big mistakes in Russian. There are a lot of chronological errors, but this is not a classic adaptation of the novel, so it did not cut.
I want to seriously write about the punctures of the plot, but it does not work. Because there's a lot in the description of the dashing '90s, as naive as in the movies for the children's session, and the idea that bears walk our streets. It makes you smile when you’re not tired.
It is not clear why, but Sasha Luss in the person of her heroine rather puts forward some thoughts not about espionage, but about modeling as a corrupt profession - she is a universal agent & #39; and our and yours & #39; and even neighborly, and dreams only of freedom, and that her sale finally ended. Her absolute detachment, despite her extremely photogenic face, radiating cold, is typical of the model, but not enough for the actress.
There were the most ridiculous moments at which the hall just laughed.
And since I didn't expect anything from this movie, 'I thought it would be worse' - very, very good.
3 out of 10
Although Luc Besson often says that he loves Russian culture and that there are so many colorful images in the history of our country, he shows this love somewhat strangely. An illustrative example is his latest film, the action movie "Anna", which is, in fact, an auto-remake of the famous "Nikita" (1990) and the number of cranberries and other absurdities surpassed even the recent memorable "Red Sparrow" with Jennifer Lawrence.
Judge for yourself: we were given Moscow of the late 1980s, which is inhabited by a young drug addict model appearance Anna (in this role, the Russian model Sasha Luss), living in a bumzhak kind of hut along with an aggressive bulldog named Peter (Sashenka Petrov, of course). But during Petit’s attempted crackdown on a Moscow ATM (!) Anechka is suddenly caught and recruited by the KGB, given that the girl with the help of a laptop (!!) somehow tried to fill out a form in order to get into the ranks of the Soviet Navy (!!!). She is quickly taken to Paris, put on fashionable clothes and sent to the podium with pistols in order to serve her native country as a professional killer.
Besson’s return to stories about strong women is understandable – a nonsense called “Lucy” became a hit, and the fantastic extravaganza “Valerian and the City of a Thousand Planets” quickly drowned at the box office. But if we talk about the amount of cranberries per square centimeter of film, then the entire review can be devoted to it, since Besson so conditionally approached the depiction of Soviet (and not only) realities, full, moreover, of the wildest anachronisms, that it becomes unclear why he chose this period at all as a background era. As a result, he came out almost an alternative reality: in the USSR, mobile phones and phones in cars are used in full, Moscow of the late 80s is dotted with double-glazed windows, neon advertisements of modern firms and ATMs, the Internet is held in apartments, drug addicts have laptops represented by models of the beginning of “zero”, and the pathos capital restaurant is called “Glavpivtorg”. All this was filmed without a gram of irony, with a murderous seriousness, which makes what is happening seem even more ridiculous and it is impossible to perceive what is happening adequately in principle - such a brilliant scenario move as the use of a famous top model as a government hitman, whose photos are hung all over Paris is enough.
Although it may sound strange, “Anna” looks better than it might seem when retelling the plot. In contrast to the tedious “Red Sparrow”, this movie is shot cheerfully and technically: Besson very well puts action with chases, fights and shootouts, clearly adheres to the rhythm and even builds a quite high-quality intrigue, deftly composing flashbacks explaining previously unspecified scenes. There are also acting successes - Sasha Luss is more than good in the lead role, works in the frame confidently, looks spectacular and demonstrates the presence of talent, and Helen Mirren, who played an evil grandmother from the KGB, acting as a kind of grotesque paraphrase of Jeanne Moreau from Nikita, and does save the situation. However, all this does not change one regrettable fact: Besson’s “Anna” is complete nonsense. But the nonsense is cheerful, inadvertently funny, unnaturally fascinating and lively, so that this cranberry fruit can be drunk without fear of choking.
How wonderful that the Soviet secret service was headed by a man named Luc Besson. This idea is visited in the fourth minute of the eighteenth film by the famous author of Nikita and Leon. The owner of an evil drilling glance, Russian General Vasilyev sends – according to the famous fantasy of Luc Besson – nine parcels with the severed heads of exposed tsareush informants to his tsareush opponent (the mail then came correctly). It is no wonder that after such an initiative, most of the responses to Anna are devoted to an inventory list of absurdities and elements of thrashy cinematic brutality, which should help Besson’s new film take a worthy place in the row of “weighty cranberries” about Russia. Our dear fantasist still knows a lot about creative nonsense, but the whole question is where and how to apply it. An example of its intended application was "Valerian" - a visual brilliance separate from its "magical" episodes (some find Rihanna's dance cooler than Salome's). You see, there are many films in the fantasy genre, and there are few directors with artistic, “visionary” imagination.
Three-quarters of the new Besson do not stand comparison even with the "Red Sparrow" - the standard of bad taste (in the bad sense of the word), not to mention the "Explosive Blonde" (another competitor). The inner child of Luc Besson (the creator of everything good that is in the director) was under the rubble of cinder blocks of popular culture (such films really reflect what is going on in the director’s head). Awakened like wild bees, the cliches of spy movies swirled with a black sinister swarm. Many people say that the film lacks irony in the casting. But irony is not necessary if you make a parable. The film with its directness causes a feeling that the author did something indecent, for which it is customary to apologize in society. And only when the European (in his “cinematic blood”) director Luc Besson portrayed the American special services no more good than the Russian, it became clear that Besson remains Besson. This is not just an action movie, but a statement on the favorite theme of this director (more precisely, one of the variations-expressions of his permanent intuition). The key scene of the film - when the heroine brings together her two "patrons", Russian and American - is never more understandable. The choice of the heroine is this: neither with those nor with these. Freedom is beyond systems.
Most often, "Anna" is compared with "Nikita" - as the first image of this plot in Besson. But the textbook “Nikita” and “Leon” from their distance look like belonging to the “art of cinema”, – “Anna”, alas, it is difficult to attribute to such. Cinematically, the film is made in the "purely concrete" style of the film "Lucy." It seems that a little more, and from the heads of the heroes will appear, as in the comics, the inscriptions “Crucially!”, “Batz!” and so on. Some people dye their hair to appear young. Others master clip aesthetics. But “Lucy” still wins against “Anna” – due to its “metaphysical” filling, albeit pop served. However, the Russian spy Anna, after all, is not to blame for not eating a consciousness-expanding potion!
“Lucy” will also point us to Besson’s intuition, which underlies the images of his so-called “special” women – in “Nikita,” “Fifth Element,” “Lucy,” and “Anna.” These are not films about female emancipation (this impression is created due to Besson’s simplified poster way of presenting his ideas). The association with the female essence is simply symbolic. "Lucy" comes closest to expressing Besson's intuition. What is it? It's about being here all the time and not being there. Very simplistic, Nikita, Lucy, Anna are such Bessonian Neo. Isn't that right? Realizing this, you look more condescendingly at the new opus of the master.
It would be symbolic if Milla Jovovich played the heroine in Anna (she, as we know from Resident Evil, can also shoot out of all guns). The Fifth Element is neither Russian nor American. It's for everyone and nobody. And that would be hard to disagree with. For me, the unsuccessful film of a cute creative person is more worthy of viewing than heavy, as stuffed with unnecessary cabinets, Hollywood adaptations of some regular “universes”.
I’ve never commented on the film before, but now I can’t help it. You know, the film left me with such a strong impression that it was not directed by Luc Besson, but, for example, by Sarik Andreasyan. A film where there is no need for meaning, details are not important, and it is generally unclear for whom and what it was shot. Just a movie for a movie. To be. I’m not the most picky film lover, I often miss a lot of mistakes in films. But when I watched Anna, I honestly wanted to kill myself with a facepalm for the second minute. Just briefly I will tell you what just immediately catches the eye that you want to poke yourself out so as not to see it:
- from the first minutes we are shown the Soviet Moscow of the 80s, where quite modern foreign cars drive in the background.
- these same modern foreign cars later will simply constantly flash in all frames of Soviet Moscow
- How do you like Yandex taxis traveling around Moscow in 1987?
- cell phones, laptops, microwaves in the apartments of ordinary Soviet citizens (I would even say not quite ordinary, but more marginal strata of society).
- modern billboards on Soviet streets, where advertising was simply hung with a red canvas with the inscription "USSR". Billboards advertising the USSR on the streets of the USSR? Why?
ATMs on the streets of the USSR in 1987
- and a bunch of things.
There are so many shoals that you just don’t even watch the movie, but look for another nonsense. All this is seasoned with a terrible play of secondary actors (the replay of Petrov looked like a game in a school theater, typical gay fashion designers who all as one overplayed with their orientation (well, they don’t talk like that), and just some gray mice that can not squeeze any emotions at all, a la actors from the TV series “Russia”.
This is the second Besson film, from which only one question remains - "Why?" (the first - "Valerian and the city of a thousand planets", where even the main characters played worse than the actors of the series "Trace").
I'm really glad I couldn't go to the movies for this, otherwise I would be upset to spend money on a movie like this.
Sometimes Luc Besson misses, but not this time!
Moscow. Early nineties. The rise of the KGB and international espionage. Anna Politova (Sasha Luss) tries to get out of the mud and drug swamp, continuing a once abandoned military career. But instead of official service, she is waiting for recruitment.
The strongest part of this picture is the cast. He's perfect:
Platinum blonde with icy eyes, sexy gait and Russian audacity is a bombshell. In my opinion, Anya, as a character, claims the laurels of the new Lila (Mila Jovovich, ' Fifth Element' ). It is sharp, graceful, technical (a special admiration for staging combat scenes) and very memorable.
Her first mentor, the ideological KGBman Alex (Luke Evans) is surprisingly similar to a Russian. Even in the dubbing, he was never called Lesha or Leha. Alex is harsh and caring at the same time.
The ultimate male antipode is an American agent (Cillian Murphy). The focus of mind, charisma and charm. He is delicate, extravagant and impeccably beautiful.
Special attention should be paid to Olga (Helen Mirren). The actress in this image is barely recognizable, but, as always, extremely good. From its natural British elegance left only a hint.
A gentle shade of the narrative is set by Ani's friend - a vulnerable Maud. Short haircut, thin shoulders and huge olive eyes - Bambi deer in the story of the killers.
You can find out the creators of this film by the most beautiful picture. The vision of cities by Luc Besson and his team is a top-level visual pleasure. Despite the frankly false details, watching the entourage is very pleasant. There are no complaints about Paris, but they have seriously messed up with Moscow. Good foreign cars on the streets of the capital of the USSR, modern LED illumination, GUM - this may not notice only a foreigner. Although even he would doubt the presence of a laptop in Khrushchev, in the late 80s, and even with access to the Internet.
In one episode, the girl during the arrest appeals to the security forces:'Mr.' and in another after the accident Anya pulls absolutely whole tomatoes from a subdued car. A strong omission, but without them is rarely a picture.
Another strong point is the constant jumps in time of action. This creates a sharpness and saturation of the plot. You can't be distracted, you lose the thread. The film looks in one breath.
Overall, it’s a great movie that can even be watched.
Luc Besson is a director whose films people usually go to knowing what to expect. "Anna" was no exception. You shouldn't have been.
What is "Anna"? Free adaptation to the modern style of Bessonian Nikita. This is a two-hour opus about a cool, strong and intelligent woman who breaks faces, builds tactics, trumps her femininity and simply “can”.
In terms of genre, the film is not surprising at all. This is a classic spy story, where a man is a wolf to a man, you can not trust anyone and the Cold War in general. In the center of the usual mess America vs. Soviet Rasha is a charming girl Anna, who is not as simple as it seems (surprise). In the course of her misadventures, Anya will walk through a huge number of places: from Sasha Petrov’s apartment, to tropical resorts with palm trees and bungalows.
Just because the tape is banal at its core doesn’t mean the plot can’t surprise you. On the contrary, towards the end, M. Knight. Shyamalan would be tired of shouting his crown. But more than that, the tape surprises with its ... setting? The fact is that in the 80s, according to Besson, people were riding in the Hyundai and used car sharing, chasing everywhere with compact mobile phones, and laptops were next to the daily ritual of buying Coffee-tu-go. I can’t believe that the crew made such shoals due to “misapprehension” and stupidity, it is obvious that these assumptions were made consciously. Therefore, the era according to Besson looks at least interesting.
Getting pleasure from watching contributes to the actors involved in the main roles. Cool Helen Mirren, charismatic Luke Evans and Cillian Murphy, who will make a chocolate bar out of anything. Sasha Petrov is fine too, but he has to look for other types. Sasha Luss liked the title one. It is difficult to say whether she will continue her career as an actress, but in this film she did well.
"Anna" is an optional film. He is absolutely waiting for a mountain of criticism from critics (ha!), who are not ready to watch another Besson, it is unlikely that he will find success with the mass audience, who will sit and grunt and grunt from every appearance of a mobile phone or laptop, and the second half will chew on popcorn (yes, I am tired of cattle that does not know how to behave in the hall). But those who will meet Besson’s assumptions with a smile, and who will not pompously gush about “another fempropoganda” will look, will enjoy themselves and move on. I liked the movie.
Good day, dear friends! Few would argue that Luc Besson is one of the most talented directors of our time. He has had a hand in works, many of which have simply become iconic, but lately he has had something of a crisis of ideas. Perhaps out of desperation, or from the desire to do something less familiar, Besson made another film in which the place of the main character was taken by a girl with extraordinary abilities. However, this film has every chance to get nominated for “Golden Raspberry”, as the worst film of the year.
In my opinion, Luc Besson himself gravitates to female images. He started making films about these cool women before it became popular. Here in "Anna" we are talking about a girl who, by a lucky coincidence, gets into the service of the KGB. Probably sometimes it is very difficult to choose an actress for the role of the main character of a film, especially when the whole plot is almost completely tied to her alone. But Besson has always been distinguished by the ability to select really talented actresses for the main roles in his films. It was he who saw the potential and opened the doors to big cinema for such actresses as Milla Jovovich, Natalie Portman and Anne Parillaud. Well, in my opinion, after the release of Anna, we can safely assume that Besson has another such actress, a new face, and not yet worn. Sasha Luss is quite talented, and she is not just a picture that is needed to attract a male audience. The girl really turned out to be extremely capable, and when watching the film, it seems that all the acting wisdom is given to Sasha as something completely natural, whether it is the level of serious dialogue, desperate chases or tough shootouts, Sasha copes perfectly! She looks very organic in this role and as if the whole plot was written for this actress. In addition, it is very well complemented by recognized and more experienced actors such as Luke Evans, Cillian Murphy and Helen Mirren. The images came out quite convincing, and the interaction of the characters worked out. Plus I think that the role of Russian characters still partially take Russian actors. Only this time it was not without the most publicized young actor of our cinema Alexander Petrov, who again plays another moral freak. I don’t know why, but I don’t see any acting talent in Petrov, moreover, because he was exploited in every second film, it also causes irritation. Here the role of Petrov was episodic and he, thank God, very quickly disappeared, but nothing but disgust did not cause.
Unfortunately, the film has flaws and many of them. First of all, this can be attributed to the plot. If you are waiting for a famously twisted spy thriller, you can safely say goodbye to these expectations, since everything here is based on a bunch of assumptions and conventions. At first glance, we are seeing another big movie about the collision of two superpowers in the spirit of “Red Sparrow”, but the idea is too elaborate. Speaking about the scenario, it is impossible not to notice that it consists of a huge number of blunders and stamps. If this is Moscow, then all the heroes are stupefying around the Kremlin, as if they were attracted to the place by some unknown forces. If we show the past years (this is the end of the 80s), then it is unknown where things from the future come from, namely a laptop in the apartment of a drug addict, the heroine calmly and confidently fills out a questionnaire for future work from her laptop and sends it online to the employer ... and there is nothing that the Internet among ordinary people in Russia appeared only in the late 90s, and someone else later?) And there are a lot of such nonsense in the picture, which speaks in general about the disregard for the topic that the creators touch on. But Besson had Russian consultants who I think tried to demonstrate to him the fallacy of what he was doing. I guess I didn't listen... But since the film as a whole is aimed at Western audiences who do not know all the nuances of Soviet Russia, they will not notice anything like this. As a result, for us it turned out to be a story full of absurdities, and for the Western audience another action movie about evil Russians.
Someone may decide that the star cast can cover the main script problems, but this, alas, did not happen. As a result, the artists themselves did not really understand that they were playing at all. I still have the feeling that for Luc Besson this film is a passing project, at least it is definitely capable of more.
As for the technical side, the picture and the entire action presented are made in the best traditions of the average fighter. This film, especially in some episodes, reminds me painfully of the film Nikita. It turns out that Luc Besson himself steals concepts from his past films to at least fill new stories.
As for the constant temporal jumps, it bothered me very much. “A year earlier,” “an hour later,” “three days before,” etc. The chronology, of course, must be observed, but it was possible somehow to organize events, and not to force every time to remember “three days before what?” Not to mention the fact that Western tolerance for free sexual relations, of course, blooms and smells, our heroine successfully enters into intimate relationships not only with the opposite sex, but also with her own, and it is not at all obvious what she likes more. Although European feminists, of course, will be pleased, but for the Soviet time (about which this film is supposedly made)... well, guys, you have nothing mixed up?
In summary, with all due respect to the author and creators, this movie was a failure. Perhaps at home in a calm atmosphere and with free time, you can watch it (at least laugh), but you should not go to the cinema and spend money on a ticket! I watched it, not in the cinema, but only because a pirated copy in good quality was leaked to the Internet (until it was removed “at the request of the copyright holder”. This movie doesn’t deserve more...