It's not my fault, the elevator got stuck. After two absolutely delusional tapes of Kokshenov (" Anniversary of the Prosecutor" and "Life in a tumble"), which I watched to my displeasure, "Elevator leaves on schedule" seems not so heavyweight in madness and absurdity. But as before, we are waiting for a farce at which it is impossible to laugh at at at all, because he is talentless, and every actor gives his full strength to look like a freak.
I understand that such films are made for lovers of “bearded” anecdotes, too simple, without the slightest signs of intelligence of people, half-monkeys and perhaps for anyone else, but apparently I have to turn in completely different circles. I can’t believe there are too stupid people. At least stupid to such an extent as to perceive the above paintings as native.
Unlike “Anniversary...” and “Life...”, “Elevator..” is easier to watch, although all creations are almost the same in time. Our valiant director hasn’t gone mad yet, as happened later (I’ll remind you that this film was shot before the others). In Koksenov, there were still remnants of something human, there was some enthusiasm and a desire to turn the situation into a farce, a bad farce - most importantly, not into shit.
Why am I trying to justify this “Nedocino”? No, no, I'm not. It is terrible, unspeakably terrible, and let us begin constructive criticism.
The fact that everyone dared to show themselves as freaks has already been mentioned. The effect is achieved due to close-up plans, barely memorized replicas, fake games. Let’s also look at the disgusting special effects. But they are forgivable for such ribbons – whatever the child does not like, if not hanged. Of the images recreated by the actors, the best was Maria Aronova - at least a little it seemed that something natural was visible. Garcalin tried to portray claustrophobia, but all attempts at suffering were reduced to ordinary drunkenness, because everyone here generally drinks, swears, fights, as in other films of the director. Of course, there are no positive heroes. Everyone has one or another sin. If a master, let’s say a European director, took up the case, it would make sense to defame everyone. Here we see nothing but moral ugliness, forged as a parody of life. There is no such life, and if there is, I do not want to believe in it. I don’t want to believe that if you call all the services from firefighters to repairmen in the same house, where the elevator is stuck with a person, nobody will do what is supposed to be done. It's not easy. There must be at least one adequate person in the crowd who is capable of taking action rather than acting like a hero or a fool. Therefore, it becomes clear that according to the Coxean "comedies" to judge the country is simply a sin. We complain about life and the state, about everything, because “this is Russia, there is no justice”, and when you look at “Elevator leaves on schedule” – and I want to take the words back. Because it's too much. All service members who could be insulted were insulted and ridiculed. The task is completed, why not drink vodka on occasion.
The film was shot then, I repeat, when the director was not completely lost in the heavy-handed absurdity, but could roughly imagine how to catch a simple, well, very simple post-Soviet viewer. However, from here everything went, from here was born further madness, which more than want to remember.
2 out of 10