In addition to the fact that in the political thriller subgenre “Journalistic investigation” “The Last Thing He Wanted”, released in 2020, a strong cast is involved (Anne Hathaway, Ben Affleck, Willem Dafoe, Rosie Perez, Edie Gathegi and Toby Jones), it is noteworthy that the script was adapted for the adaptation of the book by Joan Didion. Among her notable works, which affected not only literature, but also cinema, it is worth noting the dramas Panic in Needle Park (1971) with then beginning Al Pacino, A Star is Born (1976), a remake of which was recently directed by Bradley Cooper, Secrets of Confession (1981) with a powerful duet of two Roberts - De Niro and Duvall, and Close to the Heart (1996), where a magical tandem of Robert Redford and Michelle Pfeiffer appeared. Thus, the audience was entitled to expect a stylish and peripetial picture and even in such an intriguing genre. Unfortunately, as is often the case lately, expectations are not met.
The main figure in "The Last Thing He Wanted" becomes a reporter Elena McMahon (Hathaway), who has a complex and principled character. Her employer wants to send Elena to cover events in the upcoming presidential election, but the journalist in anger and without shyness in words rejects this offer. And then suddenly in Elena’s life, her father (Defoe) reappears, whom she had not heard of in a very long time, let alone seen. After a brief and pointless family showdown, Elena suddenly learns that her father is somehow involved in illegal operations in Latin America, where the U.S. government has its own interests in helping local anti-Socialist fighters with weapons and other means of warfare. But is it only the support of Latin Americans loyal to the United States that worries the ruling circles, or are there other interests that can be directly related to the supply of large quantities of drugs to the United States? Elena finds herself involved in a deadly game where her life becomes a stake, but as a journalist she is very eager to get to the truth and tell people about it.
The boom of audience interest in the subgenre of “journalistic investigation” occurred in 1976, when the screens came dense, dialogue film “All the President’s Men” with the excellent acting work of Dustin Hoffman, Robert Redford and Jason Robards. Disclosure of the details of the event, which became known as the Watergate scandal, instantly turned the profession of a reporter into one of the most popular in the United States. Then there were a number of paintings of the subgenre, but if you do not forget about “The Last thing he wanted”, then the thematically similar tapes include “Kill the messenger” (2014) and “Made in America” (2017), where the relationship of government agencies with the well-established supply of drugs. And all this really cannot but be intriguing, but in "The Last Thing He Wanted" there is such a saturation with action, characters, connections, behind-the-scenes vicissitudes that at any moment it is easy enough to miss the threads of the narrative and get confused about who is responsible for what and what is doing, and most importantly - it is unclear who represents whom and what goals are pursued.
In fact, “The Last Thing He Wanted” is a mosaic film, where small fragments give us the opportunity to somehow present the general picture of what is happening, but here it is worth arming yourself with a pen and a notebook to record Elena’s numerous facts and findings, so as not to finally get confused and have an understanding of what she got involved in, and what secrets each of the characters keeps. True, to facilitate our mental work, the tape introduced voice-over explanations from Elena, but, to be honest, they do not help much. Such a complex film with many overlays is really difficult to watch. Moreover, some actors did not even understand the essence of their characters, because there are plenty of chameleons here, but it is not clear who and what is actually doing here. However, Anne Hathaway created a memorable image, but for some reason she was more irritated by her harsh statements, attempts to find out the truth and some awkward motivation. Ben Affleck was supposed to appear before us as a cunning and sophisticated character in political intrigue, but he performed his functions statically and the appearance of his hero was sometimes difficult to explain. And only Willem Dafoe, perhaps, correctly understood and played the screen father of the main character.
Thus, "The Last Thing He Wanted" in principle had a good plot base, but it may have had to be cleaned up a little, since so many plot twists are confusing and because of this it is quite easy to get confused and miss some important points to fully understand the film. It is possible that it should be watched several times and then everything will fall into place, but, to be honest, the directorship of Dee Rees and the play of several actors only discard this idea, because it is difficult to withstand again the almost two-hour fuss of a complex scheme consisting of politicians and bandits who created the mechanism of drug trafficking and arms supplies.
5 out of 10
Not what she wanted The film begins with the voiceover monologue of journalist Elena McMahon, in which she, among other things, admits some of her mistakes. This is not just about ordinary mistakes, failures, but a fundamentally wrong approach to the profession. Let us listen to her words about the feeling of weightlessness as a symptom of depression caused by the loss of a familiar environment. The work goes to the result - a career for employees and an increase in influence for the newspaper. To achieve the result, a certain ballast is dropped, which, perhaps, in fact, is a connection with reality. And this is not happening in the Internet era, but in the 80s - the time of telegrams and wired phones. Work in zero gravity from 9:00 to 13:00, and then, apparently, your personal time. Which you do not have to spend on some journalistic investigations, because the overall picture is already known. Elena really sees the big picture of US policy in Central America and likes to be one of the first to ask uncomfortable questions to senators. El Salvador and Guatemala in the past. Now it is Nicaragua’s turn to discredit the revolutionary forces and covertly, bypassing the ban of Congress, to support the Contra with weapons. And this is budget money, which is, in fact, the financing of terrorism. Whether the senator is making money from his event is not shown. But we hear him refer to Nicaragua as a “cancer.” So he's breaking the law and supplying weapons just for bloodlust? In 2019, Congresswoman Alexandria Ocasio-Cortez denounced the policy of US interference in the affairs of other countries, citing as a vivid example the crime of supporting the Contras. Elena McMahon is gradually becoming a zero-gravity desk journalist, but her consistency in the inconvenient coverage of Central America, even without any in-depth analysis, still troubles those she calls “war pigs.” Is she capable of deep analysis, part of the ballast she had to drop? The complexity of the character is that Elena is woven into the American success matrix on several levels. It’s not just her career, it’s also her family – her father Dick recalls pre-revolutionary Havana with nostalgia and spent his whole life supplying weapons. And here's Dick in the hospital. His father’s last job was to deliver it to Nicaragua. The last thing he wanted. She's taking the case. Out of respect for your father? Because of her anger at being removed from Central America and asked to cover an election race where weightlessness is already beyond measure? Or is it an attempt to feel again and not just to understand the truth of the real world? The director focuses on the mythological image of Elena’s father, with whom she has not seen for many years. And so there will be no immersion in reality - we will be immersed in a dream, in the world of double agents, French spies and people with two surnames. Guidelines from the past office work will not help there. In El Salvador, Elena was driven by a thirst for justice, and a world of human suffering opened up to her. Now she is trying on the terrible world of her father, who is already ill with Alzheimer’s, a world of deadly risks of blood business, which sooner or later will destroy you from the inside. It opened not reality, but the world of its enemies – a world of constant fear of becoming a criminal, a world of losing connections between events, a world of physical survival, a world hanging on an eternal hook debtor with a fake passport or a fake life. One Jones tells Elena her fate - unnamed victims of the Vietnam War, where he includes reporters who after such a dive simply could not live on. 7 out of 10 Original
This is one of the best films of recent years. In essence, this is not a mass film, it is an art house. Its meaning is not to convey a storyline and intrigue the viewer, but to create an impression. This film can be compared to a picture in the spirit of abstractionism or expressionism, where the main thing is not what is painted, but what feelings the picture evokes.
'This is the last thing he wanted' - a movie where not an ordinary film, a movie where you do not need to understand the plot, because it is purposefully represented by scraps and unsaid scenes, which even in several places contradict, but all this is done specifically to have the necessary impact on the viewer.
As a result, when you look closely, you understand what kind of world you live in, how little stability there is and how much chaos there is. The film is filled with anxiety, the excitement of which is partly caused by a misunderstanding of what is happening on the screen. It can be compared with the work of Kafka, where events occur as in some terrible dream.
This is certainly not a film for a big rental and knowing this, the creators did not even launch it into theaters.
And of course it's an anti-American movie. It shows how easily the authorities of the United States, as well as any strong state, play with the fate of people, peoples and countries: they organize revolutions and suppress them themselves.
Here we see the meaningless life of heroes and numerous cross-cutting characters: they all do not know what they are looking for and what they need. Only the main character is recognized in this.
The ending of the film takes us back to the beginning and points to the unreality of what is happening - the whole film is a memory of the distant days, conducted on behalf of the main character, who dies at the end of the film. Can you remember how you died? Her fall into the seething ocean is a symbol of all our life and beyond.
Of course, the film was largely misunderstood. People began to look for clarity of the storyline and found that the potential was not unlocked and came to the conclusion that it was some strange nonsense. But 1) see what this director did? 'Electric Dreams by Philip Dick' is a mystical arthouse. 2) Do you think that such wonderful actors who starred in this film realized that the script is complete nonsense, but decided to still star in a little-known director in the film who did not go on the big screen? For what? They were filming for an idea. This is a rare film that is not designed for plot and intrigue, but for sensory perception. In this sense, it is a true art.
I think many will agree that the presence of a good director as a director, as well as an impressive star cast is not always an indicator and a guarantee of the success of a particular tape. Unfortunately, this film directed by Di Riis became one of them.
The plot of this film develops around the Atlantic Post journalist Elena McMahon, who is tasked with covering the 1984 presidential election after a series of scandalous articles. One day, she learns that her father is involved in organizing arms shipments to Iran and financing rebels in Central America. Soon, she decides to fulfill her father’s last will and expose the government’s involvement in these cases. Without even knowing how big a target she has put on herself.
To be honest, I have not read the original novel by Joan Didion, the adaptation of which is this film directed by Di Riis. I can only say that the authors of this tape obviously do not know anything about writing the script and the script of this tape can definitely be called the worst that is in this tape. At first glance, the authors of this tape have a very good idea, from which you could squeeze an extremely interesting story. But unfortunately, the efforts of the authors of this tape turned out to be absolutely ridiculous, poorly written, uneven and having a lot of plot and logical gaps story. As if the authors of this tape sometimes do not understand what story and what they want to tell in principle. Spraying your attention on everything at once, but not trying to finish every idea on the screen.
The latter can perhaps be said about the director of this tape Di Riis. After not bad 'Farm Mudbound', Ris very much regressed as a director on the screen and shot a frankly weak film. Ris tries to develop this film as an action thriller, but for all the attempts to catch up with tension, sharpness and dynamism, she alas failed. She also tries to bring a certain drama to the story, but she also failed to give the picture depth and emotional strength. Creating an absolutely lean and sterile film, which seemed to be created by artificial intelligence, not a creative person with a certain emotional baggage.
It hurts most when watching this tape for Anne Hathaway and Ben Affleck. Both actors are experiencing far from the best times of their career and nowadays rarely appear in certain decent projects. In this regard, it is a shame that they got such poorly written characters, which they are trying in every possible way to play and give them life. Unfortunately, this is too little to see in their characters live and real people. The only strong assets of this tape were only Willem Dafoe and Toby Jones, which, albeit few in this tape. But they play so brightly and strongly that they squeeze the most out of their characters on the screen and slightly pull this film in these few scenes of themselves appearing on the screen.
3 out of 10
The last thing he wanted was definitely one of the worst films of the past year, which unfortunately does not save either a very bad director, a potentially interesting idea, or a decent cast. The authors of this film managed to create an absolutely sterile and lean film, which is absolutely unbearable and difficult to watch. Especially because of the writers who do not know what story they want to tell.
The subject of investigative journalism in the cinema is very popular nowadays. It's just an investigation into discord. No, the director doesn't care. That’s why the pictures are completely different in quality, which are based on real events.
'80s. The United States is actively engaged in foreign affairs in South America, providing major arms supplies to the revolutionaries there. Business outside the United States proceeds against the background of the presidential election, journalists of various publications are scouring in search of hot sensations and among such writers Elena McMahon (Anne Hathaway), who has just returned from one of the South American “hot spots” and is again forced to go to hell.
Thanks to his father (Willem Defoe), who after a long time in the shadows again made himself felt and turned to his daughter with an unusual request. Go to another country with a shipment of weapons, exchange it for money and come back. But everything is not so simple and Elena gets into a bad situation. She doesn't have any real papers, she's being hunted by someone who doesn't know who, she didn't get any money for a gun. I have been fooled on all fronts. More specifically, stupid.
Looking at the character of Anne Hathaway, you realize that the gun baron from her as from Nicholas Cage in the film of the same name did not work. No word at all. Strong and independent, yes. 100 percent. Even 146. And the picture itself turned out to be frankly weak and empty. The film, like on real events, is created, and tells about the dirty deeds of politicians and how journalists try to uncover these affairs, but has an extremely low rating, and some foreign critics laugh at it and distort the title in the spirit of “The Last thing we would like to see” or “It would be better not to see it.” When I started watching, I didn’t understand why he didn’t like it. Maybe it's because Willem Dafoe's character talks about homosexuals twice in a bar scene with his daughter? Given how zealously the rights of sexual minorities and, in principle, minorities are defended in modern cinema, such an argument may well have a right to life.
But no, it was different. The film itself turned out to be empty, its characters faded and unremarkable, and the story in which Elena McMahon fell – meaningless from the very minute she delivered the right cargo from point A to point B. None of the characters flashing further is fully disclosed. More precisely, it is not even revealed at all and is only every next person on the path of a frightened American woman. The story of the US supply of weapons to South America, despite the fact that it should be the main one, fades into the background, because the main storyline becomes McMahon’s attempt to return to his homeland. At the same time, aware of the gravity of her situation, she continues to store the allegedly revealing material she collected and constantly moves forward, fueled by the desire to create a sensation. As a mother journalist, her instinct for self-preservation shuts down when she sees white people like herself and repeatedly turns out that white people are not her friends. And her countless escapes have no end. Having learned another piece of truth or guessing about something, she immediately runs at full speed. It was in the car when she was driving with the hero Edie Gatega, so it was when she was talking on the phone, so it was even on a night walk on the beach.
Taking into account the fact that Di Riis already shows the main character as a woman resistant to all the hardships of life (the father abandoned, the husband abandoned, the work is deadly-dangerous, the daughter sees rarely, and also oncology survived and received a scar on her chest for life), the director adds another theme, which still says that Elena is a woman. For me, the bed scene and even with nudity in such a film was completely inappropriate. It does not carry any semantic load and is rather an invention of Di Riis, and not a historical fact.
Everyone who plays an important role in the film plays their parts out of hand badly. The only exception is Willem Defoe. Everyone else is below their level. Toby Jones - sluggish and memorable, Anne Hathaway - tries to play the plot, but she does not succeed, because in the script her character - Elena McMahon is spelled out too weakly. In addition to running and eyes bulging from fright, she does nothing more, and increasingly less significant phrases turn into a pathetic voiceover speech of the heroine. Ben Affleck just didn't care. Zero emotions, zero effort...
But the most important thing (in my opinion) that the film lacked was tension. The director was unable to add dramatic pepper to the plot, so that the viewer could really worry about the main character, who got into such a difficult situation. Even if there are tense moments, Di Riis does not emphasize them in any way: neither intense music, nor any sound effects, nor the more less dynamic development of a particular episode.
But look at you. I do not impose my opinion on anyone.
The career of screenwriter-director Di Riis has become something ... uneven. About this black woman, more and more talk than she really affects the world of cinema: at the same time, judging by her filmography, Di Riis wants everything at once. This spirit of discovery led the director to The Last Thing He Wanted, a political thriller in the vein of 1980s films whose visual style and pace is similar to Spy Get Out! Unfortunately, to convey this correctly, you need a lot of talent, and with all due respect to Di Riis, her creative comfort zone is clearly not in this zone: a complex scenario does not turn into something digestible for viewing.
It feels like The Last is an incredibly soulless film. The main character Elena, in the role of Anne Hathaway, works as a journalist. An experienced and idealistic persona reveals one after another the political conspiracies of the American authorities. In 1984, Elena is tasked with covering the presidential election, but everything is confused by Elena’s father, Richard (Willem Defoe), who re-emerged in her life after a man left a child and wife. Richard's health is rapidly deteriorating, and Elena decides to find out the details of one not entirely legal case, in which her father was involved.
Often the plot of "The Last Thing He Wanted" seems tedious and soulless. However, there are hints of an ambitious game in the script: the noisy Iran-Contra affair, Reagan-era scandals, etc., etc. It is bad that after almost two hours of time, nothing remains in my head, although the script covers global machinations and conspiracy on a global scale. Streaming giants like Netflix are always indulging in creators, so it's interesting why "The Last" isn't filmed, for example, in series format. The characters of this work should be given the screen time they so desperately need.
The plot is very confusing. While bandits, politicians and other characters from the back of the script try to make decisions, react, compete for the audience’s attention, Di Riis somehow refreshes certain events with the help of voiceover comments. The audience at some point is simply lost, and, apparently, the director understood the confusion of the audience and tried to somehow explain the bad moments of the script. Chaos multiplies even more towards the end of the film, and if the plot will appear to the heroes of Toby Jones and the inexpressive Ben Affleck, it becomes clear that their characters are generally included in the list of characters with the aim of assigning a couple of famous actors in the caste.
Di Riis' narrative goals are unclear. Essentially, "The Last" is a desire to tell the story of a father and daughter. However, the film was shot in some inhuman world - the very same one, so strongly filled with theatrical that you are amazed. Viewers, of course, remain one-on-one with this intricate labyrinth of the script and although there is a touch of a talented director, you can see how uncomfortable the author feels in the universe she created.
“The Last Thing He Wanted” is a dramatic thriller directed by Di Riis, who previously directed “Mudbound Farm”, telling about a journalist who goes to Iran during the elections for the presidency of the United States in 1984 to close her father’s deal to supply the rebels there with weapons and at the same time learn the truth about the US sponsorship of these most armed uprisings.
Stories about journalists can be tense, especially when it comes to major government secrets and their revelations. But the problem is that this film, as a political thriller that it initially tries to be, is almost impossible to perceive. The plot completely lacks background; it is assumed that they should be known, but nevertheless unfamiliar with those events to the viewer, the events shown will seem very schematic and confused. But good about the connection with the real story; after all, the same applies to the presentation of the plot with a bunch of one-time characters and unwritten plot twists, and the disclosure of characters, in particular, the antagonist performed by Ben Affleck. The action is uneven, crumpled and sometimes fast, then extremely slow; the sides and stakes of the conflict are unclear, and the only thing that can be taken from this film is that everything is bad in it, and there is no one to empathize with there. The film is similar to Denis Villeneuve’s “Killer”, but in terms of the level of intensity of the action he did not stand nearby (you can not talk about the action here). At some point, the plot generally stops moving and stands still, the main character sits in vain or lies down and grieves about the past with a exhausted face, and then just drinks and tries to change something, in general becomes a pale copy of the character of Tom Hanks in “Hologram for the King” Tykver.
Most of the film we watch the heroine Anne Hathaway, who, by the way, plays just fine. Including her natural and sincere play helps to imbue with sympathy for the main character, which, although revealed better than others, also acts very illogically to the finale of the film, although this, again, is the fault of a clumsy and wasted confusing script. Willem Dafoe, who played the father of the main character, as always great, but there is too little of him in the film. But a lot of Affleck, who beats all the polymers of emptiness of his character with a reinforced concrete face without a single hint of emotion.
Of the positive aspects, we can note only that the soundtrack – it turned out to be worthy of the best drama or thriller. The same film, neither as a family or personal drama, nor as a thriller about the opening of the “terrible truth” does not work. It is boring, empty and I do not recommend watching it to anyone, except that someone is interested in watching stupid throwing about the family problems of a woman under 40. Nothing new from this film on history you definitely will not learn.
Closest associations: “The Killer” (2015), “Hologram for the King”.
5 out of 10
Why: Whatever the creators wanted to do, they didn’t get anything at all tense, catchy or simply interesting.
'The meeting place cannot be changed', 1979, dir. S. Govorukhin (G. Zheglov about Verka-modist)
Something's wrong with this movie. From the beginning. No way.
For two hours, an emaciated woman trying to engage, entertain, tell something. What? Different. About himself, work, political situation in the world in the era of R. Reagan - D. Bush. Tossing around Nicaragua, Costa Rica, El Salvador with a camera in hand. Today, the jungle with the corpses of charred bodies salutations, tomorrow a stray bullet or a machine gun queue with a probable summation of the line. Elena is an international journalist. Digging his nose, catching hot sensations, fried facts to the editorial desk one by one on the stream. Risk your life. For what? To expose. To debunk. Call things what they are. More, more. You should. Can-can-can-can. Awesome tenacity. The potential for efficiency is extreme. Is that interesting? Is that exciting? Fan? Pro? Workaholic? What about the money? Career?
But I think I did. I feel like I'm exhausted. Power's at zero. Crash. The look of the truth-seeker with the look of a dead fish illuminates. She's not tenant. Definitely not a tenant. The seal of doom is imposed. Take a closer look at her. Behold?
And so, when you come to understand this, the inner interlocutor, my second one, I start to ask, why, in fact, did she go so far? And most importantly, why? I don't get it. Explain to me? She does not show ardent love for foreigners - she does not cry, does not groan, does not tear her hair in hysteria. Hands of help - giving the last, tearing away from yourself, does not extend. It does not save, protect, or protect. The greatness of her soul, as a spectator, I do not see or observe. Nothing. There's nothing like that. The only thing that drives this ' lady' is the thirst for sensation. Okay. Nothing else. My opinion is she's a sick person. That's all. Hysteroid. It's tattered, worn out.
What does the director offer us with the characteristic of this grief-truth? Mother and father divorced long ago. The lady herself is divorced from her husband. I repeat my parental destiny. I have a daughter. But to engage in the education of a child, ' the savior of the world' once, she has no leisure. And so the child in the shelter (or what more secular language is it called?). Grow what? Who's gonna grow her up? In the third round of the spiral, everything will repeat itself – early marriage, pregnancy, divorce. Interesting, isn't it?
. . I'm restless,
Calm me down!
I grew and blossomed,
to seventeen years,
And since seventeen
Love circles a girl. . .
And the whole heap of passions that the author throws at the feet of the viewer - the supply of weapons, drugs, a sudden father, a CIA special agent, cocaine monkeys seemed to me some kind of stupidity, some absurdity in the collisions of the path of this unfortunate woman. What took her years? To fight the windmills? If this idea is dominant, it passes very sparsely, faded.
It is strange that having emerged from the politics of scandalous news, suddenly having crossed paths with his parent, Elena again finds herself on the same track. An accident? Fatum? What's that in the movie? The originality of the director's idea or simple burying in a bunch of everything that is? A mystery?
Maybe there's a clue in the lady director? Or two ladies of three writers? That is why the accents in this detective or criminal thriller are so shifted towards drama. Female drama about a lost sheep in the world.
She needs to cook, but watch the children, and she saves the world.
And my daughter's last sobriety on the phone is about that. About this. Oh!
Ben Affleck is ironed and smoothed. But boring. The emotion is stingy. It's like a mannequin extra here. From scene to scene without grace. No game, no game. But Toby Jones and Willem Dafoe, the spark brought to the picture, but the flame does not flare up, the timing of the roles does not allow. Sorry.
Perhaps Oscar-winning ' El Salvador' (1986) with James Woods did not allow to believe what was happening 'here and now'. ' There and then' it was all the same. But much more convincing. The script received ' golden statuette'. The actor who played the journalist - too. ' The last thing he wanted' and the sculpting of the film, I think, falls into the sky. Nope? The whole film - ' about her ' and 'wanted' - you know, he? Isn't that funny? The logical message doesn't match. Like so much else in this movie of the day.
In the comedy del Arte, there's a character called Polichinel, aka Pulcinella, aka Parsley. His name became a household name, thanks to phraseology ' Secret of Polishinel'. Americans behave like real Pulchinelles - with a breath, rounded eyes, they talk about things known to the whole world, and expect from the audience screams of delight, and furious applause. Old-timers remember Irangate - the administration, led by an actor named Ronald, supplied weapons to Iran (violating the embargo), and the proceeds went to support the Terr... sorry, the description of the film says ' the rebels' I can not argue with the description, on the support of noble, freedom-loving ' rebels' who want to liberate the people of Nicaragua, tortured by evil communists. There was a big scandal. The Americans quickly figured everything out, and after some 8 years, the astonished world learned that dollars do not smell, well, even if they smell, then a little, a little. President Bush Sr. humanely pardoned all the scoundrels involved in Irangate (he was also Ronald’s vice president), and everyone pretended that nothing happened.
The film tells about the events of Irangate, which affected the main character, a sneaky journalist, and her half-crazy daddy, who also works as a weapons baron. Call it a movie ' story ' can be very stretched. In the drive program 'Good night, kids' sharpness is more than several times. Most of the film is occupied by pretentious, behind-the-scenes monologues of the main character. ' I wanted to figure out who put lead and steel, higher than lard and bulba' well, and so on. In addition to her sparkling thoughts, the film is full of meaningful conversations between pompous, fat gentlemen in expensive suits, a couple of shootouts, and the final twist. Everything is template, and not interesting.
The main character does not cause the slightest sympathy. She flies to wild (according to the Americans) places, ' not for greed, but at the will of the father who sent me' and gets into an unpleasant situation with drugs and weapons. According to the idea of the writers, the heroine was supposed to appear as something like a modern Amazon (they burned out one of their breasts, in order to be more convenient to shoot with a bow), but more like an unpleasant bitch. Hathaway recovered (where is the graceful female cat from 'Batman?). There is a moment in the film where she runs, picking up a hem, across a cornfield. From her monumental step the earth trembles, and the cobs drip down frightenedly. A similar effect could produce a statue of a kolkhoz woman with VDNKh, in the event that she left her post and decided to warm up. The heroine is very unpleasant, she climbs everywhere, and this is despite the fact that she does not need it, and her motivation is rather murky.
Hathaway's company is Dafoe (the only one worth watching this movie for), Rosie Perez, famous for her role in a film with a caressing Russian ear title ' Perdita Durango' (Durango - means ' daring', and not what you thought, you can safely say to your loved ones - quit, durango!), and swollen from the righteous life, and barely fits into the screen, Ben Affleck, in the role ' quiet American'' Defoe is beautiful, he utters a couple of incendiary, intolerant, anti-homosiatin' (quote!) dialogues, and is very persuasive as an old nerd. Willem has become a walking encyclopedia of psychopathology, a role he can play even when heavily drunk. ' Antichrist', 'Van Gogh', 'Lighthouse' and now this is a miracle. Creativity Defoe can be used as a visual aid for students of psychiatric universities.
Defoe is very organic, which can not be said about Affleck. Anyone could have played his part. His hero should cause anger, and cause pity. It is boring, it has no charm of evil, demonic greatness, infernality.
The film is full of length, drawn out, and causes nothing but boredom. The good will win, the bad will be punished (Bush humiliates them with his pardon), the imperialists will continue to make America great again and again. . .