The scariest episodes in this movie are the moments when people tell each other “I love you.”
There is not a single positive character (the scriptwriters of the series on the channel “Russia”, probably, went crazy from such ambiguity of the characters), there is no expected and already boring story of several friends in the spirit of “Sex and the City”, there is no story of the way “from dirt to princes”.
And there is an all-tight spiral of the detective story, at first very weak and obvious, it becomes deeper and more serious in season 2, and in the last episode of season 2, the writers - thank you very much! - gave the development of a previously imperceptible and seemingly insignificant story, after which, sunk under the weight of "I don't believe!" my brain became flustered and wanted to review some aspects of the series from the point of view of the opened perspective of the plot. I suspect that this idea is useless, because in the first episodes of season 1 the writers hardly knew about their own kulbit in the whole story.
And I like that.
Which I don't like. As it turned out at this point, the main character of the series is the oligarch Gleb Olkhovsky. Writers poorly imagine people of such a warehouse. At least they would take one not just an oligarch, but at least a big businessman as a consultant, and he would immediately make them laugh. Mr. Olkhovsky with such character and habits could not become who he is shown to be. I couldn't. Therefore, he did not pull on the main character anymore, the personal development of his character went down, and even to understand how this weak-willed and powerless person became an oligarch did not want to.
And the further I watched the series, the more I did it mechanically and my attention jumped from one storyline to another, not lingering anywhere, because there was nothing interesting there, the plot was simply stretched in a thin layer along the timekeeping, reaching the end of the season.
Perhaps someone suggested to the writers that Gleb is a spent material and you need to switch to someone more creepy and consistent. And this, of course, not finally showed the face of the hero Konstantin Lavronenko by the surname Chistyakov (hello, Glyukoza!)
I agree with the writers - except for Dasha Smirnova - all the other characters of the series are simple as three pennies predictable inhabitants, differing only in the degree of internal rot. Respect Dasha after the last episode with the “junior lieutenant” Cyril, when she gently pointed him not to the bed, but to the door.
Dasha's speech patterns are very interesting. Now I thought that her manifestation on the physical plane is slow, sustained, always benevolent with an eternal approach from below in relation to the interlocutor makes her very consonant with the spy photographer Olga.
This is a very interesting and very, very working tactic. While all the other ladies of the series are concerned to disguise their weaknesses and demonstrate whose eggs ring louder, and on this constantly break down, Daria and Olga, like two wise snakes, demonstrate amazing adaptability and guaranteed unsinkability in any life turns, skillfully managing their own lives. Amazing.
Usually in the life of women, we see either a straightforward and therefore primitive tactic “just like a man” – Elena, Natalia, or crazy from the word “without a head” – “just on a tank with nagan”. Olesi, or cowardly whining, endured “I am a victim of circumstances” Lesha and Ulyana.
However, paradoxically, these amazing and the only real women in the series are lonely. No man likes them. But they don't seem to like anyone either. Olga prefers women (although she does not have a permanent partner and, apart from hints of direct evidence of her love of womanhood, there is also no), and I think no one has any misconceptions about the sincerity of Dasha’s feelings.
That's the paradoxical outcome. Outwardly, the most feminine, stylish, docile, soft, wise and mysterious heroines are not interesting to anyone as women.
I’m really looking forward to season 3 and I hope I find out at least the secret of Dasha.
The first season decided to watch, spit on anti-advertising and premonitions of skeptics about the plot and the series as a whole. I asked, of course, later the question ' why'. And suddenly remembered a quote from the story of Victoria Tokareva ' Anton, put on shoes': ' Tired of difficulties, the soul craved primitive'. I couldn't think of any other reason. Nor can I think of a reason why the series (maybe) has been viewed by a large number of people who are skeptical of the abundance of erotic and sexual scenes in the movies; who do not understand what drives smart rich men who spend a lot of money on pretty, but stupid and brainless empty things.
So what? I watched the first season with excitement. Let in some places the smell ' soap ' made its way (what is the very rapid development of relations between Gleb and Lena - familiar for a day or two, and for his sake already a husband kick in the ass is ready to hang, and his favorite work on foot erotic journey to send). Yes, and the rays of darkness in the bright realm were often lame game ' Actresses' Dashi-Sophia and glamorous-Kisovskaya nauseous saying of Alice-Olga. But the first season, whatever you say, turned out to be a good intrigue, a prelude to the second, managed to warm up the interest of the viewer to the further development of events.
What about the other one? We have the following: the plot is not finalized from the word 'totally ' Sometimes even boring and predictable. Constant jumps from fifth to tenth. You don't get the connection between the fifth and the sixth, the sixth and the eighth, and finally the eighth and the tenth. By the end, you will already be completely confused to catch: who, with whom and how was associated in the past; who, to whom and where crossed the road; who, to whom and what owes. In some places, the plot seems to have been bulldozed.
Confused, boring and incomprehensible. Even the banal abundance of nudity and (like the cherry on the cake) lesbian scenes from all these unflattering epithets of the series did not save.
Nevertheless... Well, it does. Well, we could not stretch the events by the time allotted for each series and the total number of episodes. Oh, come on. Who among us can get used to when, even in everyday life, we sometimes communicate with hints? Guess what, you say, yourself.
That's okay. But! I can't, can't, can't understand this. Conflict of tastes? Difference of perception? I don’t know what other reason to find that the director absolutely didn’t care how some of the actresses & #39 play, and as a result, they don’t talk in the frame, but mumble under their noses in a low voice. And no emotions in their voice, as if not outrage / admiration / joy / sadness they express, and read by heart at the school board memorized poem, just to tarat and ' Five & #39; get. And an absolute zero emotions on the face, as if not a living person at all, but a robot or a puppet puppet on strings, or some fruit of computer animation. How can such a game make the viewer feel the words and the drama that these actresses play out? No way. And this adds to the disadvantages of the unfinished plot.
Season three? If so, then according to the principle of oddity - as clear and intriguing as the first.
1 out of 10
In all times and epochs, there were the right people, and it is terrible when one makes his way to the upper world not with talent, but with connections and the ability to use them.
Containers, who are they? This is a special type of chicks (not women) who want to be fully supported by rich men (not men). This is a special type of behavior that is taught in an elite escort, or it is by nature a chuck with the right vector of words, manners and behavior to achieve certain goals. This, of course, is a stereotypical appearance for our times without a hint of individuality, or (as the ideologists of the series try to prove) it is not a matter of face, but of natural manka without a hint of complexes.
They are not looking for any, but beautiful, smart, caring, with certain sexual skills (a nice bonus) + guarantees that she will be compliant.
In the first season, there are fewer of them, here they bred, and not in terms of offspring, but in terms of quantity. The former became even more cynical, the new ones were strengthened in the hands of skilled masters.
The lack of an emotional component (or its clever disguise) of one of the heroines is still infuriating: she is smart enough to accept the courtship of the oligarch, lacks the willpower to hide hot bouts of jealousy, dangerously provoking a person with great power and capabilities, and does not have the mind to admit the idea that after such bums, a swarm of others will flock to her place in 5 seconds.
Another after another idle pastime on the party leads a tragic dialogue with her husband: I do not love anyone. And I'm nobody. That’s why we don’t love anyone the same way. Their marriage in general is a caricature of intersex relations in a long-rotten and a priori doomed marriage: when a long time ago the father decided to marry her so that she would forget the love of the former, the potential groom agreed, knowing the degree of influence of the future father-in-law, which means confidence in tomorrow’s well-fed day is guaranteed to you. They never lived until the desire to do what they wanted reached its climax.
I got a blat in the movies. He was, is and will always be everywhere, and the postulate that “money and connections decide everything” bypassing talent is a visual aid to this. If this is so, it is very scary and sad.
There are storylines that it is unclear why to develop, apparently, for timekeeping and stretching for 8 episodes. Also, there is no clear understanding of “why and for whom is all this filmed?” To what? Do you want to see rich houses and expensive cars? – OK, we saw, before reaching Rublyovka / Barvikha. Seeing a lot of the same naked body indecently – OK, there’s porn instead of the alternative? Show everyone cheating? You will be surprised and show that not everything.
Aftertaste ... as if mocked the viewer: pulled the strap of the detective, inserted humorous lines, intrigue twisted, and at the end - figa with oil called "all in season 3." Disappointed when the wait for the finale of events from the world of rich purses and poor spirits was at its peak.
Too little. Even if you collect both parts, then barely enough for one full season ' standard series'.
And frankly, I never understood what the film was about or how it ended. The most surprising thing is the lack of a sense of understatement. That is, after watching other TV series, it would have arisen, and in this I did not understand anything at all - the creators wanted to say something, but it turned out only linguistic garbage 'A. Well. Okay. Shit. Here.' - a visualized set of parasite words, a la Klitchko style replica. The series has no idea - there is nudity, expensive cars, interiors, an abundance of obscene vocabulary, but there is no clear understanding '. There is no desire to appear grumpy, but ... this is either a grotesque (very, I must say, peculiar) on the modern oligarchic reality of Russia, or the author wanted to show ' Life in the style of expensive-rich #39; but did not pull on finances. Everything in this series is out of place. Whatever you do, it's not natural. Aftertaste is absent as a class. Want ' kill time' without the slightest strain on the brain, so that then turn on any series in any place and continue watching the series? That's it. Although watch series after series, at least one, at least backwards - the effect is guaranteed. Zero effect.
I watched the last episode of this masterpiece film with tears of shame. What kind of people are we? Why do we not value the color of our nation, the salt of the Russian land, our dear, very expensive oligarchs? Shame. Very embarrassing.
In Soviet cinema there was such a genre - production cinema. In each film of this genre, the drummer - a pig (steelmaker, miner, tractor driver) exceeded the plan, and simultaneously won the love of the drummer - pigmakers (milkers, weavers, seamstresses). 'Containers - 2' - a typical production film, which tells about the hard working days of domestic oligarchs and the contents of all possible sexes.
The life of a domestic financier is difficult and unsavory. Judge for yourself. First, you need to stealthily ukra ... well, that is, honest and painstaking work to earn a couple of billion dollars. As soon as everyone knows about your wealth, you will be subjected to the invasion of the security forces - tax officers, and what is most terrible, you will be attacked by representatives of the very fauna that bears the proud name of the creative intelligentsia '. Noisily flapping their wings, they will stretch their wiggly necks, scatter muscular beaks, and scream utterly in pure Japanese - Dai! Give! Give me the money! At the same time, they will bombard you with creepy words such as: fashion show, biennale, installation, performance. . .
In addition to having to share with all the listed individuals, you will have to maintain a reputation. You will have to go to fitness, do hair removal (the appearance of a naked oligarch covered in hair is disgusting), insert huge, horse-sized, white teeth, pump tons of Botox into your cheeks and other places, and whiten your anus. How else? Nobless understand oblige. The classic said that in an oligarch everything should be fine, and the figure, and teeth, and even the...
You will have to get a companion (ka), whose content will cost you more than the content of any Switzerland. You will not even be able to sybaritate in a luxurious five-story Khrushchev chalet, and you will be forced to live in a terribly ugly postmodern box of glass and steel, somewhere in the far suburbs. In order not to offend the aesthetic tastes of others, you will have to surround this ugliness with a high fence. There you will spend the rest of your days, occasionally making cautious forays into the kitchen, and timidly having sex with the same woman. Spooky.
I learned the following from the second season.
1. All the actors get to the set through the bed (and anyone doubted that?).
2. All oligarchs are on a strict leash at (siloviki, officials - it is necessary to emphasize), pick up the leg and bark only on command.
3. The life of a rich person is boring, so the rich are harmless jokes - adjust each other's car accidents (jokingly, and without a second thought).
4. In the Moscow police there is only one - the only honest officer - Maxim Glushkov, and he has his own motives - Olkhovsky stole his woman. . .
If you still don’t feel pity for these unfortunate people, then you have no heart! The effect of peeping into the keyhole allows us to be filled with sympathy for all the characters. To the ever tense, squeezing his lips into an old man's thread, Olkhovsky. To his contents, an angular, unpleasant police officer. She is cramped in a golden cage, she is always eager to investigate something. That's what I want to tell her - calm down, honey, you're a thing now, behave accordingly. To the unpleasant side of Karina (while she was just singing with her mouth, she looked much prettier). To the hero Lavronenko. How many public concerns are in his guise. He thinks all about Russia. To Dolgacheva's charming manner, watering her puffy husband with a selective mat is just sweet music for the ears! Where else can you hear the people's artist swearing?
The heroine Khayrullina says to Dasha - you are perverts! Perverts! That's right! For this we love this film, and also: for the sweet aroma of vice hovering over the heads of the heroes, for their undisguised cynicism (shit can also fall in love - quote Cyrus), for the abundance of naked body in the frame, for suffering Seryozh Burunov (the only one who has the rudiments of conscience) and much more.