It’s more than silly to compare an independent filmmaker’s own-money experimental film with mass-released production shot in Hollywood, major studios with investor money, where film production is put on stream, and the lion’s share of products are indistinguishable from each other, like recipe-proven burgers. Even a significant part of independent cinema is made there according to a similar scheme - the studio that takes over the production finds private investors willing to invest in a little-known name or a fresh idea.
'Gazholder. Clubare is an underrated film, both in terms of form and work done. Are there many films in the twenty-first century based on a poetic script? The last thing I remember is Baz Luhrmann's Romeo + Juliet, but it was in the late XX. Yes, the characters are clichéd, and flat, but in a comic book as it should be, the villain carries the attributes of the villain, the hero - the hero, and so on. The hero in this comic, by the way, is not. Why is a question worth pondering: the search for reasons why there are no heroes in modern literature and cinema, or, when there are, it is someone like Walter White who goes beyond the 'film review' format. In any case, Clubare is at least a good attempt to say a new word in an experimental movie, while trying to say it in verse. And thank you to Ivan Kursky and everyone else who did it.
Adventurous-drug poem about tortured deeds and shameless boys
Do you remember where I was? We didn’t do it anymore because Gazholder. Clubare is not a continuation of the first part, and Ivan Kursky (as I understand Basta himself) is aiming at the movies only to promote his party. Until this tight record about the strange heresy of the plot is broken, no one will admit that the song has been sung hundreds of times.
The rhymed exposition in the speeches of the characters, of course, is a considerable investment of energy (wake the Russian poets from their humble graves!), but not one parody of poetry the viewer should be fed. When watching “Clubare” you experience a variety of emotions: at some points a series of visual techniques inevitably captures attention, but mostly what happens on the screen is not that you show your mother. Oh, shit, how do you stop talking poetry?! In short, this is an absolutely unnecessary film in which everything looks expensive-rich, with a monstrous claim to unprecedented quality (one camera and editing techniques above the roof), but no satisfaction, alas, does not bring. And it is not even a question of who and how much can not be very pleasant way of life of the heroes, shown too in the forehead, deliberately and pompously, extremely poor in its beastly greatness. We have repeatedly seen criminal dramas with endless drug use, adventurism from scratch, terrible crooks, whores, flops and other paraphernalia - so you should not be surprised. It's probably the minting nonsense that permeates every scene of the film. It’s not clear why they had to shoot it.
A few years ago, Kursky (Basta, Noggano, call it God) gathered in one pile of famous Russian rappers (and not only) to make up a kind of cheerful-looking story, where there was something to cling to – action, humor, pathos, and many other “chips” that determined the extremely specific, but still the success of the enterprise. “Gazholder: The Movie” can not be loved, scolded and reviled, laughed and doused with tears, but still we must admit: this is a very curious, at first glance, experiment. “Gazgolder: Klubare” is no longer an experiment, but only a sluggish attempt to squeeze the film from where you can squeeze almost nothing else. Of the rappers left the very least; of the music – tracks for a rural disco; of the idea – a dead spirit in a rotting body; everything else – some vulgar, nauseous and tortured-sick.
In the left, we get a story (or, if you will, a poem) about how important it is for everyone to set everyone up, how pleasant it is to smell and stick out, how to throw a big party, constantly trying to avoid trouble, but always getting into them again and again. If it were not for the original, but not at all mandatory, form of presentation, we would observe the most ordinary skittish, in which no hero deserves close attention, understanding and empathy, and the situation prevailing over the assembled rabble is only a cause for great boredom. But together with the presented form we see ... um, the same, only in verse.
However, who needs them, your poems, if nothing more tolerable you have not come up with. One single empty word in a pile of colorful pictures of a vicious life.
Old man, you have said many times that you saved me from death. Tell me why!'
With this more or less correct (hopefully) quote from the creation ' Mtsyri' the great Russian writer Mikhail Yurievich Lermontov, I want to begin, yes, practically finish my review of the film ' Gazholder. Clubare (2018)'.
I just have one ' the main question ' and a bunch of sub-questions - ' Why was this film made?.' For whom, for what, etc., etc.
What did you want - the writer, director, producer, cameraman, actors and a huge number of other people involved in the creation, release and promotion of the film on ' wide screen' what did they want - to show and tell the audience?
P.S. Almost thirty years ago, a M.D. who lectured on forensic psychiatry told us students that one form of personality disorder is the invention of new words.
'Clubare'.
Unfortunately, the review is negative. A little background: my friend and I like to arrange an evening 'trish' or 'parody' films such as 'Ruslan', 'Fateful Discoveries', 'Children vs. Wizards' (this is about 'Tresh' in our understanding), all parts 'Naked Gun', ', 'Hot Heads' (this is related to the genre 'and other works). All these works may not necessarily have something good, on the contrary, more often the worse, the more fun we have.
'Gazholder. Clubare' should have been included in the list 'Tresh' Initially, we didn’t take him seriously, and it was supposed to play into his hands, we were predisposed to what was happening, but unfortunately it didn’t happen.
Starting with the first frame, you begin to wonder 'Why?':'Why do they start the film with a phrase from the trailer?' (Me and my friend phrase ' and it will be called clubre' very funny, so we were initially happy),' Why do we need interruptions on slow-moving cars, which were then accelerated at the editing stage, so that it all looks like a wild chase, even though the characters are sitting and smelling?' Why do they try to talk?'' Why all this?'.
Personally, I have the biggest claim to the filing form. I understand that the guys wanted to do a rhyme chip, maybe I guessed in comparison with a fairy tale, maybe they were marking their story by comparison with fables, but why?
Why was this story told? What should I take away from her?
Why would they take on the role of a friend of a man who stutters a little? Is it '+100' should it have added to the charisma? Or are they trying to keep up with that?
Why do I need to feel sorry for anyone here?
Stychkina (whom everyone calls Archie), who sniffs all the time, throws everyone, and tries to seem like a wild business tycoon?
A Zaika friend (yes, I didn’t remember his name) who fucks some girls in interruptions, complains about all these girls, and eats bananas?
Zuckerberg (Yes, this is the main antagonist of the story, although why he is an antagonist, it is not clear) who gives money to Stychkin for the phrase & #39; and it will be called clubre' who tries to satisfy his girlfriend by giving money to Stychkin for the phrase ' and all this will be called clubre? '?
Baste, whom everyone calls Noggano, and it is not clear why this story needs him.
Charusha, who is Stychkin’s girlfriend, who besides the fact that she likes to have sex with Stychkin, I can’t tell her anything.
In general, on all fronts this is a terrible movie, the last monologue, from the screenwriter, why was it necessary? This monologue was not compatible with what was happening. He could just as well read a monologue about the problems of his grandfather, who keeps an apiary in Bashkiria. (That’s what they did in the first movie of 2014.)
The end of the story does not follow, everything just happened, probably because ' all this will be called clubre'.
There are many other characters that I don’t even want to talk about. Why?
Except for the question ' why?' no other questions or thoughts appear. The only plus is that now I can talk to other bad movies ' well, the club was worse '.
The film consists of rhymed Punches pro & nbsp;our capital
This is a very boring movie saying that a drug addict can be a happy person. It is even ridiculous to watch Evgeny Stychkin play, which shows the addict as a monogamous male. It is even ridiculous (it is just bullying) that a drug addict is a successful entrepreneur, a lucky man and a monogamous male (for whom a wife is everything). Evgeny Stychkin plays club promoter Arthur, who even in an economic crisis under sanctions finds rich suckers to open a nightclub. The film consists of rap-punch about night club Moscow and its life.
Honestly, I don't understand why the writers linked their rap punches to drugs and easy money from scams. Evgeny Stychkin played his role like a butterfly. All the characters read rap punches, maybe it's just a rap ballad about nightclub Moscow. A fashionable nightclub is an idea not normal in Russia, which is under sanctions. Writers of the film Oleg Gruz and Ivan Kursky made the relationship of easy money, drugs and monogamy to his wife bitch very provocative. Tell me, where can an addict run away from his problems? The finale of the film is shocking.
The glamorous zeros made the notion of a rich Russian drug addict normal. Now, in the era of “fake news”, this film is only valuable rap punches that permeate the whole picture. Yes, the film is very boring, because glamour died with zero. Now the nightclub is the vulgarity of modern oligarchs. In this film, only rap-punches are valuable, with which the characters are thrown.
The composer once again reminded his fans that if they talk about drugs, his name is Nagano. Basta as Basta: an ordinary rapper who decided to star in a new Russian movie about night Moscow.
5 out of 10
British snob I, year by year,
I don't believe in the movie "Cinema Fund".
On a rainy evening, in October
I watched the movie "Clubare."
I took for fashion: the money that I could contribute to the box office of a domestic film, send to the fruit basket of my diet. That’s why I started to look more confident and healthier. Especially when, in the wake of my physical well-being, I enter into the usual discussion about the advantages and trends of 20th-century French cinema. Thank you to the Ministry of Culture for taking care of my health.
I have long lost interest in Russian cinema. It stopped searching for the new, stuck in chewing the old. The endless conveyor of broiler films about the war, pathetic comics about the “old times” and sports and patriotic epics, the obligatory application of which is a loud conclusion about successful financial fees.
Unexpectedly, against this background, the film “Clubaret” claims to be trying to present a new form. This is not a search for a new story, but still. The script is written in verse, which automatically condemns any storyline to zoom. And if in a standard film, all the characters are habitually served through a trivial dialogue or trialogue, then in "Clubara" boldly denounce the choreas and iambas, who in their free dance turn into a logaed and they can not be stopped.
Recently, directors have gained popularity in the habit of emphasizing the importance of their work by mentioning the number of shooting days, rewritten scenes, reshots, time spent, writers involved and options for the script itself. It is known that the script “Clubare” was written for 10 years, a good half of it “went to the basket”, but this fact is not mentioned by the creators of the film. The scenes themselves and the text go easily, as if not memorized, but appear spontaneously. From this, everything that happens on the screen acquires an effemeral property, like the landscapes of Turner or Monet. The viewer has not yet mastered the unusual rhyme, as he is already fascinated by the following rhythmic beat. This is the amazing property of real poetry, capable of having a unique speed, pushing the meanings forward, which does not allow you to bring the audience to the sidelines. In one word, "clubare" is editing and word. There is no silence that gives you the opportunity to think, reflect, enjoy the long plan and inner experiences of the hero. The film does not pretend to be fashionable maneuvers of author's cinema. All thoughts are planned for later. "In the beginning was the Word..." In its current structural manifestation, the film approaches the architectonics of Shakespearean plays, where the plot emphasis is solely on the action and form of the syllable. And, as a true literary word, the film "Clubare" does not impose itself on anyone, flashing in news feeds and advertising blocks. Movies are self-sufficient. For this reason, he expectedly will not receive certificates “good” for box office fees, there will also be noisy recognition of newspaper criticism. The film, where the presentation of a new form, focused on the viewer, with literary taste and ready to appreciate the plasticity of rhymes, is at the forefront, should not flirt with the layman and compete with format products.
Screenwriter Oleg Gruz. A poet who could fit quite well into the canvas of the silver age, a happy accident brought us today with him. The Don land is full of wonders, rich in poetic forms.
Everyone knows who Arthur is. Many people hate him, others even want to kill him, but he keeps spinning, grabs big projects and manages to negotiate with everyone in time. And when he had the opportunity to open “Clubare”, he realized that he could get a big jackpot, which will solidly replenish his bank account.
However, Arthur did not calculate that he would have to deal with the investigator who wants to get more than usual, as well as other doubtful elements who have their scores to the arrogant promoter who desperately refuses to let the bird of happiness out of his hands.
This film will be fully appreciated by fans of Gazholder and Basta, but I believe that Clubare is quite capable of attracting an outside viewer, who primarily values not big names, but a high-quality plot, confident acting and directing. Fortunately, all of this “Club” has in full. Moreover, Ivan Kursky understood all the mistakes of his past film, doing everything necessary to make his new work please even the most notorious critics who refuse to notice even the undoubted advantages.
The merits of the film also include the fact that it looks at ease (not least thanks to the cool dialogue “rhyme”), does not strain and does not try to make us talk about the meaning of life, like some other films in this genre. So “Clubare” can be safely called an honest entertaining film that knows what to emphasize, and what is better not to touch.
There is also its own caustic irony aimed at our modern realities. And Arthur himself and some other guys are written off from real people engaged in such cases in real life. No one will turn away from the blow - neither corrupt cops, nor oligarchs, nor rappers. Even Basta allows himself a pinch of humor so as not to get out of the debugged ensemble of the production.
A few words should be said about Evgeny Stychkin, who just played Arthur. He has a cool image that begins to spark from the very first appearance on the screen. Of course, he is a slippery type and thinks mainly about himself, but you see who he has to deal with and then all the questions will disappear by themselves. With wolves, as they say, to live – to howl wolf.
So take a good mood with you, and watch the club. Just give this movie a chance and I have no doubt it will get you excited. I think that's enough for a fun evening.
"Gazholder." Clubare is another film project of the Gazgolder creative association, already the fifth in a row. The film tells about the difficult situation in which the club promoter Arthur, also known as Archie, got: the ex-boyfriend of his beloved, an influential banker, out of jealousy incited the policemen to the hero, and now he is forced to pay them a very decent amount of money to avoid being in prison. In desperation, he gets involved in another scam and, having received a large advance from the customer, takes on the construction of a fashionable nightclub.
The creators of the film position it as a crime comedy, but this definition is exactly half true: there is catastrophically little fun in the film, laughing draws only from “Spanish shame” because of what is happening on the screen. A successful comic insert is only one – a cameo by Viti AK, who got a brilliant self-ironic scene, the rest of the jokes are either not “counted” or are somewhere beyond good and evil – the icing on the cake of this genre here becomes a bare ass, and it looks sad and pathetic.
In contrast to the comical side, the criminal component here is more than enough: cocaine, sex, car chases in the night city – all this is present in abundance, and in one that Guy Ritchie would envy. It seems that the authors looked up to him, sticking more “rock and roll” attributes and dynamic editing into the film – but in the pursuit of form, they allegedly completely forgot about the content. The picture is full of slicings of minted frames, which quickly tire and on closer examination turn out to be rather meaningless both in themselves and in conjunction with neighboring scenes. All this resembles a crazy stream of consciousness or a nightmarish surreal dream, but rather even a “bad trip” – as a result, when copying Gayrichev’s style, it turned out as with Chinese Christmas toys: rich, bright, dynamic, but – does not please.
The characters of the film came out, although realistic, sympathies do not cause any, most slight pity, or even disgust, although this was clearly not thought of. During the film, the characters do not change at all – they do not develop, do not degrade and do not learn from their own mistakes, follow them openly boring. Moreover, there is no intrigue in the plot, even the trailers of the film seemed much more informative and interesting than he himself.
Another aspect of the design of the tape, which can not be ignored – the original presentation of dialogues. In "Clubar" everyone talks, albeit not quite in verse, but rhymed, which at first glance looks quite original, but ultimately gives rise to strained statements, metaphors and strange neologisms like the word "stealers". “Club” here rhymes almost always with “stupid”, and the name of the fashionable place is not too harmonious. The flights over Moscow look beautiful, accompanied for some reason by excerpts from the news, and the heroes also want to applaud for the ability to say the name “Mithun Chakraborty” without a hesitation – but it is not clear what this is all about. Perhaps the key to understanding the film was to be the final philosophical monologue about the Moscow screenwriter of the film, the poet Oleg Gruz, but this monologue does not fit so well with the rest of the picture that you do not want to look for additional meanings in it.
There are many questions about the story, mostly rhetorical. Why do we need secondary characters whose storylines lead nowhere? Why does the main character mindlessly try to fly on vacation, if he has a subscription not to leave? What relationship does Dotsenko have with Magomed Magomedovich? And sacramental: what did the authors want to say with their film and for whom was it made? In one of the interviews preceding the premiere of the film, Basta, a little slow, answered a similar question: “for us all.” And that makes sense, assuming that “all of us” meant “ours,” the people involved in the filming and Gazholder. However, there is still a chance that the clip editing and familiar faces will also be “clung” by young fans of rap – but what will this film give them?
"Gazholder." Clubare is a very bad movie. And the point is not a bias towards Russian cinema (which in recent years has shown a lot of quality, interesting and original tapes), but that the picture objectively does not have strengths. None. Only a nasty aftertaste and an annoying thought of wasted time that took a look.
Every time, as if for the first time, I swear not to go and, especially, not to review domestic cinema. Each time, as if for the first time, I am filled with a lot of negativity from what I saw on the screen. And here I am again leaning on the domestic 'masterpiece' and it looks like I am intentionally causing myself psychological trauma.
The magic of cinema is not about domestic films. Everyone, I think, has noticed that the subject of drugs and crime is perceived differently when we see it in Western films. Not to mention rap. Who listens to Russian hip-hop? And more importantly, for what reason? Some intricate, strong rhymes, I meet extremely rarely. And semantic load is absent in 98% of tracks. Sometimes you can close your eyes to empty babbling, if, as they say - ' pumps'. An endless stream of rhymes, unexpected meanings and conclusions, as well as honed, technical and diverse flow. Where is all this? Basta - the legend of Russian rap. At least that’s what his fans say. I don't care, you know, I don't care about a tall bell tower if it sounds second-rate and ridiculous. It sounds like - ' come here, well, come here, I'm the fucking boss!' No, it's not, friends. All these words have no basis. They are another showdown, which is regarded as something inferior and failed. Don't think about it, I don't think Western hip-hop is the benchmark. This is partly true, but in recent years there has been a lot of moronism. We've had it from the beginning. We didn't have a reference rap. Guf reads - ' I'm on the seventh floor, it's like the sixth, but one higher'. You listen to this. It's not funny, it's mediocre and there's no reason to be a fan of that kind of music. Why, when Ice Cube reads about how he was mobbed by police in the '90s, do I believe him? And because it doesn't sound convincing enough, he manages to tell a story. To raise the universal problem of racial discrimination. He's going against the system. Now it is not relevant, yes, I agree, because no one has discriminated against them for about 15 years. But even now, it's seen as a revelation and a struggle. I suspect most people haven’t heard real hip-hop because they don’t understand English. And now about the movie itself.
Everything that happens looks operetically. The whole life of the characters is exaggerated to ugliness, and the creators of the film, apparently, filmed it under cocaine, and it in the film will be more than can be visually perceived. I kind of like symbolism, but it's too much. All the cliches, all the cliches, all the paraphernalia from the hip-hop world are stuffed here in unhealthy quantities. How come, guys? Be serious!
Now about the rhymes, which in the film will be littered and you will even be offered to take a little with you, but you will protect your relatives, because in the film rhyme for the sake of rhyme and nothing else. Texts are pretentious, sound cheap and disparagingly written. As I said above, there is no proper structuring, no word work. You won’t get it, nor will you get it from one of the most powerful hip-hop labels in Russia. But if you're willing to settle for a little, it will. In general, I love dialogue in the movies, especially if they are fascinating and fretful, especially if they were written by Quentin, but, when watching this picture, I always wondered - 'You can do so many wonderful things with your mouth, why waste it on conversation? '
The story told in the film is empty, and I want to fill the pillowcase with saturated batteries and beat the creators of this movie. Some sort of disassembly of ridiculous non-personalities who think as primitive as possible, by the type - ' no person - no problem'. 'Who should? put it on the counter!' Guys, honestly, even though I think of the picture as an object of carefree fun, I can’t afford to close my eyes to such a talentless scenario. Everything is clichéd and stamped, and it's annoying. You can close your eyes if it is presented competently and naturalistically. And in fact, a stupid repetition of many times played plot elements. Pompous banditry without charisma. Disassembly of pseudo-personalities, which, in fact, are nothing. Aspiration for 'beautiful life' and at the same time no makings for it. Stunning, shaming and unideal characters. And how not to say about corrupt and unscrupulous cops? They're here, and they're scoundrels. How original, huh?
Busy girls, lots of money, coke, endless parties and cackles. There's a fake town in front of me. This is not the Moscow I know. Just for a moment you will be shown the real reality, but, all the rest of the time, you will watch the pompous turkeys that try to rub you, probably 'Russian Dream'. That's how I see it. Otherwise, why fill the picture with a miserable and false attribute of 'beautiful' life? The city is drowning in cash, coke and girls with heavy buffers. Seriously, you can make yourself a suit of buffers or a suit of money, and best of all, of course, a giant titty dressed in a suit of money. I don't understand what the viewer can find in this terrible picture, well, I mean, yes, it has buffers, but... But, you know, I guess that's enough. Discussions of the creators of the picture about this picture - ' Let's shove an ocean of drugs and tits into the film ... No, let's get some big boobs!' I may have exaggerated it a little bit, but in the movie, for sure, all the women are prostitutes, greedy, greedy, calculating and so on. I probably won’t be able to stop this movie.
'Don't give up - until your legs are spread' - under this slogan, probably, Basta decided to make a second attempt to break into the cinema and again became hairless. All this skewed west, nothing more than cheap and propaganda. It's different. Why give the viewer an absolutely operetta picture?
P.S
Then you say, “I’ll take it off, then talk.” No, guys, I'm not a filmmaker, and neither is Basta. I am a spectator who has already chosen his path in life.
'Buffers in the Clubard jump up and down, up and down' - I just sang it. It’s time to finish with this picture, otherwise I’ll start to think that I’m more artistic than everyone in this film.
2 out of 10
A Russian person has a great quality: the things he does in spite of, not because of, he does much better. If our person presents everything on a platter, helps in every possible way and advocates for the good progress of the cause - the case will not be in the majority. And if, on the contrary, to put sticks in wheels, to underestimate and reproach - this is where our character wakes up and shows everything that a person is capable of. Now I am talking specifically about one person – Ivan Kursk.
Here Zhenka Bazhenov tore apart the film "Gazgolder" - the previous creation of Ivan. Everyone scolded him, laughed, called him and forgot. Another person would have scored on everything from resentment, but Kursky apparently brushed off a stingy male tear, took willpower in his fist and wrote a new script for the film Gazholder. Clubare. I didn’t just write it, and then I found money for the movie and made it. It deserves at least respect, and at most pride. It is thanks to such stubborn guys that after some time we level skepticism towards Russian cinema in society.
"Gazholder." Clubare is a fairly good crime thriller with elements of a comedy action movie and musical interlude. The story of one unlucky guy who decided to organize the club, pay back the debt, and also cut down money is quite fascinating and interesting. The script is very well and intelligently spelled out not only the characters, but also the story of each, coupled with the right issues. This film will quite confidently feel next to such epic and iconic films as “Badges”, “Mother do not grieve” and “8 and a half dollars”.
On the film worked the same people who worked on the first “Gazgolder”. Basta is still responsible for the musical accompaniment of the film and once again confirms that he is a very talented guy, albeit in his own specific style (I just do not like ArendB and Rap very much, but I understand that this is part of the modern youth subculture). In the actor's plan, in comparison with "Gazgolder" the film has strengthened thoroughly: here and Stychkin, and Bogdasarov, and Sychev and even Goreva. And these guys can make candy even where it feels like the writer didn't press. In addition, some of their heroes have real prototypes. And this is really interesting, since fiction is fiction, and in the Club, not only jokes and dialogues in rhyme, but also partially real events are described.
In the end, it turned out to be a pretty good film that shows how, being in the crosshairs of all the detractors of Russian cinema, continue to do what you love and want to learn. Yes, the film is not without flaws, but they are barely noticeable against the background of a strong story and good acting. That's the kind of movie you should watch.
Russian Guy Ritchie and Shakespeare made a film about Moscow and not only
This cinematic poem rests on two pillars, or rather, legs: directing and script. It is not what she walks on, but also runs, jumps and tumbles.
I will not describe the synopsis, it is above, I will dwell only on my impressions.
Oleg Gruz, who wrote all the dialogues in verse, and there are simply no others, did the work, well, if not Shakespeare’s scale, then at least Filatov. His 'Fairy tale about Fedot, the streltsy, the good man' many of us know and love. Only in ' Clubare' instead of Fedot - Arthur, instead of the general - a couple of security forces, and the almighty king personifies ... no, not the one you think of: a crazy and cruel oligarch-investor. The characters communicate exclusively in rhyme: vivid, ironic, fresh. You definitely will not have to miss, but hold your breath so as not to miss a word.
Probably no creator likes to be compared to his predecessors, but in some cases, such comparisons are a compliment. The direction of the picture looks in the best traditions of Guy Ritchie. Dynamics, gluing, chips, music - everything is in its place. The picture rocks, as well as the soundtrack, which is dosed here and does not bring the artists to the forefront, as in Kursky's previous work. Unlike 'Gazgolder: film' where the plot, soundtrack, artists, musicians were as if by themselves - everything works for the overall impression and finale! This is a solid, well-adjusted canvas.
Funny, not vulgar humor, rocking soundtrack from Basta, non-banal plot, cheerful shooting, Stychkin in one of his best roles, poems Truz - it turned out elegantly and ... as there is, I forgot ... in general, as predicted by the heroes at the very beginning.
In conclusion, I will add, because I am interested in poetry, I write myself, and I probably understand something about it. The work of Oleg Gruz is the foundation of the picture, it is a monumental and successful work. None of his contemporaries have ever done anything like this, and I congratulate him!
10 out of 10
The guys from the creative association "Gazgolder" do their job with pleasure and perhaps that is why their work is really so popular with the public. The label at one time included a lot of interesting and not untalented personalities, and now under the wing of Basta also gather quite remarkable performers, collecting full halls.
By releasing clips, organizing concerts, Bast and the company began to realize that they needed to expand the field of activity and in 2014 they released their first full-length film under the simple and understandable title "Gazholder: The Movie" (just like all albums from Basta - 1, 2, 3 ...). And although there were some roughnesses in the plot, and the phrase “There was no more water” became a ma’am, it is worth admitting that the guys largely coped with the work. Not surprisingly, the first film was followed by the second. However, "Gazgolder Clubare" turned out to be much more thoughtful, interesting, moderately comical and even fascinating, from which even a viewer far from Basta's creativity will be able to appreciate it.
The main character of the film is the famous Moscow promoter Arthur performed by Evgeny Stychkin. For years, turning successful schemes and successfully rounding the finger of his many enemies, Arthur began to consider himself almost “immortal”. But luck sooner or later should have put him on the bandwagon. It happened when Arthur borrowed a large deposit from businessman Zuckerberg to open "Clubare", the same nightclub, only much cooler. So now Arthur has to deal with the arrogant investigator, creditors and other elements that will not be left behind. Nevertheless, the hero is not going to be discouraged, because in his head swarms a lot of plans, which only one "Club" clearly does not stop.
I am glad that Ivan Kursky’s film is not trying to be serious, but rather tries to amuse, entertain and distract from everything that is outside the screen. Of course, as you would expect from the guys of Basta, they will do their best to show how cool they are, that they should not be dealt with and so on, but in Gazgolder Club all this looks appropriate. I especially want to mention the masterfully written dialogues. You don’t know what the guys are saying in rhyme. Yes, it's unusual, but very resourceful and cool. It does not bother you, on the contrary, it brings a lot of interest!
The creators did not forget about self-irony and most importantly, they were not afraid to give the main role to the “coming” Stychkin, while Basta himself and his comrades on the stage receded into the background and as they could and helped the Wife to join their team.
In the "Clubar" quite reasonably plays good music, in the frame you can see many celebrities, including, of course, Basta himself. Nice to see Charusha. Dasha is an unusual actress, every time opens from a new side. In the club, she also has an unusual role, the more interesting it is to look at her. It is also necessary to recognize that the film was shot technically competently and stylishly, it is clear that Gazgolder put a special bet on this project and thereby were able to atone for part of the sins of their first film.
I think Gazgolder Clubare deserves attention, because the film was shot at a decent level. I will also note once again Evgeny Stychkin, who keeps well and looks quite confident in the role of a promoter, on whom the heavens themselves fall, and he opens the umbrella with a grin. In general, we watch and enjoy.