Postmodern. Life on the screen, communication through the kaleidoscope of messengers - and in the cinema as well. The main character is not an infantile schmo from Generation Z, but the most ordinary guy who learns to make serious responsible decisions. He is a victim of his environment: his parents are the heroes of "Bitter" and friends - "Don't drink, you just drink." But trying to get out of this quagmire: see the books "how to stop drinking" on the desktop and "vacancy auto show Moscow" when moving a girl. And the main friend, who is a fool, but sacrifices the values dear to the heart of a teenager - naked chicks and a wheelbarrow - to help his friend. Even the main character - not just a major chicken, but also makes sacrifices for the sake of their relationship - puts up with her mother-in-law, abandons the academy and the future arranged for her. It's a surprisingly good movie. About love. Behind a bunch of gags and a postmodern clip serve, there are live heroes you empathize with. So Karimov is not Zhora Gooseberries, although he carefully disguises himself as him.
Like the film is not about cattle, a turned out everything equal to pro bad.
Pretend to comedy, although the unusual format (which probably took away all the attention of the director and producers), but it is impossible to make such illogical (not mentally ill, namely illogical) characters. Perhaps most women are so hysterical and stupid, but I doubt it. When there is no empathy for the characters, there is not a single interesting plot twist, when all the morning surprises about the last night are read in advance, there should be at least the charisma of the actors, funny jokes, but this too is not. Walk, Vasya at least looks easy and with a smile on his face from the same director.
I read reviews here and I see that everyone is fixated on the director, and therefore create a cushion of safety, because you can refer to the fact that just one unsuccessful film, all geniuses happen.
From my experience, I never look at directors, at actors, I watch the film as a separate story that awakens emotions in you and only then there is a pattern that these directors make good films, that these actors are made in good films.
Just a terrible attempt to mix Gorky and a bachelor party in Vegas. Perhaps if you want to turn off the movie after the 30th minute during each scene, you should turn it off instead of trying to look in the hope of a sharp turn. There's nothing more to say.
Having asked the bride for the birthday of his best friend, Anton wakes up in a locked apartment in another city from the morning and remembers nothing. But he has a computer with the Internet, where he learns that his nightly exploits were piling up on YouTube. Overcoming the hangover, Anton tries to deal with the dirt and have time to get acquainted with the family of the bride.
In principle, in the beginning, the film by Roman Karimov is not so empty and looks somewhat satirical. Anton’s example shows, so to speak, a hero-lover of our time, who makes a lot of efforts to win over a girl, but at the same time does not take his eyes off the Internet. And the situation when on softness you sometimes get between two pitchforks and choose something wrong, is very close. There were some results. But the author with the wrapper failed. The history of one 'Joshka' in the already steamed style of hyperrealism is replete with repetitions from 'Gorko', from 'Groom'. Even from his ' Walk, Vasi' There is a certain courage in the implementation - nevertheless, Bekmambetov's work with virtual technologies has not yet cooled down, but so far the result looks no easier than some art house. In any case, it is difficult to relax or turn away from the screen (and sometimes you want both).
'New super fare from MTS 'Good walk': calls from the police station home and lawyers for free!'
(anecdote on mobile communication from the middle 'zero')
The title of my review may seem like a slap in the direction of the cult fantastic action movie, and partly it is - the idea for the title of the parody character came to my mind when I remembered that the first episode of the third season of the hit sitcom & #39; University & #39; (the old one, which is without a subtitle & #39; used the title of the same film, and the reason for this was in the plot of the series, which borrowed the idea of the consequences of the party with a scale released just at the same time, in 2009, the film story, <#39; >> Criticism of such attempts to adapt the story from the city of sin ' in the Russian manner in most cases was unambiguous: the authors of such projects were subjected to shameful statements about incompetence and the desire to enrich themselves at the expense of someone else's fame (a significant role in such mass aggression was played by the well-known BadComedian, but thanks to the latter, thanks to his favor to the work of the director Roman Karimov , the multi-million-dollar public of an authoritative person did not trample the new tape as cruelly as ''''''''''''''&&&&&&###&&&##39&&&&&#######&&&&&&&&&&####39&&&&&# After extreme comedy ' Walk, Vasya!', which glorified Karimov as the director who knows how to stage ' comedies much better than his ' colleague on the shop' Zhora Gooseberry, the next project, after which the novel promises a sequel to the hit of 2017, was the story about the consequences of the birthday celebration: after all, among the events, ridiculed we have somewhere, really, but not bad, but somewhere, probably, and disgusting;'. Karimov, however, having a very limited budget for a comedy about how young party-goers had, despite the hangover syndrome, to restore order, both in the head and in the vast territory of the held ' cultural event' as well as in relations with loved ones; applied a method that allowed to significantly save on the set: all the action in the film, and its entire video sequence, consists mainly of video conferencing sessions, from correspondence in social networks, as well as from the concentration of the film, which the participants directly from the film's point of the film, with the help of the film, from which the whole, from the film, from the film, from the beginning, from which the film, from the video, from which all the video, the film, are already shown to the film, to the film, from the film, to the film, the whole, the film, from the beginning.
The joke I quoted at the beginning of the review, in our time can already be considered ' bearded' after all, the time has passed when mobile phones were mainly a means of communication, the time of which due to the terms of tariffs had to be limited, and MMS and all sorts of ringtones, toys and pictures were expensive pleasure, and are available only to those whose expensive phone models supported Java (and the Internet was available only from computers, and the poor then still by blocking the home phone). Now, when even the poor can afford to buy a smartphone with 4G Internet for a relatively small amount, and paying even the cheapest monthly tariff, it is unlimited to use such types of communication in it as What's App and Viber, where not a penny is taken even for video calls to the other end of the world and sending any files; it seems that it is time to show on the big screen how these innovations are used to the fullest extent in the current extreme situation, in which not only the main character, who, having succumbed to an ultimatum, is one of his father, but who is also in the place of the culprit and who has been in the place of his girlfriend, who is now, who has been in charge of his own life, but who has been in a friend, who has been in charge, who is now, but who is not in charge of his life, but who has been in charge of his life, and who is now, who has been in charge of his life, who has been in charge of his life, and who is now, and has been in charge of his life, who has been in charge of his life, Using the manner of shooting, called 'screenlife', which is gradually becoming fashionable, despite the deafening failure of the similarly filmed youth fairy tale about Internet stars; the authors allowed acters hired from the common people, among whom there is not a single face familiar to the viewer, to portray all video calls via Skype on laptops and similar means of communication on smartphones just as people do in life, being in the most uneasy movie, and being sent to the picture, as if the audience will not be happy to see everything in this situation. Trailers were made from the most stable in terms of shooting episodes, and it was impossible to predict that the film as a whole will be so amateur. Nevertheless, all those present in the room, like me, very adequately appreciated this work: first of all, the film is a comedy, not a spectacle, and the humor here, although, again, did not show the ideal of the number and quality of jokes, in contrast to all the same respected ', but those present laughed exactly so much, and exactly where it should be: there is no abundance of flat jokes about the members and grass (although without vulgarity, of course, the film, does not depend on the main thing, from the background, >, , , >>>, >>>, not from the heroicularly, , >, >>>, , >>>>>, is not so much from the fact, , , , >>>, , , , The result - light-version 'boys' and 'Project X', with a more modest picture, but close to us in spirit Russian situation, intriguing scenario and mostly good humor.
7 out of 10
We can safely say that the history of cinema is being created before our eyes. Up to this point, cinema has experienced only one major technological revolution: the advent of sound. As much as some experts would like to note the appearance of color, it did not play such a large role in changing the language of the narrative. Almost a century passed and the original genius of the Kazakh land finally changed all the rules of film art again, inventing a unique technology - capturing the monitor screen. Well, or Bekmambetov believes so, given how persistently he has in recent years presented his cinematic seven-wheeled bicycle to various audiences.
And for the sake of fairness, it is worth noting that almost all of his films of this direction were distinguished by quite high reviews, both among domestic and Western audiences. Formally, only one project was released as a fake – “Hack Bloggers” seemed to be created for this format, but instead caused hatred even to the target audience even before Evgeny Bazhenov finally drove it into the ground. The rest quite successfully master their niche of inexpensive kinz somewhere between the genre mainstream and festival author’s projects, each film is trying to really reinvent its film language, consisting of clicking on browser windows, typing in messengers and action in video chats. And “Dnyukha” Karimov is just a very interesting project in terms of how the author of peculiar comedies tries to adapt screenlife to his needs.
The main problem of screnlife on the surface is that no one needs a seven-wheeled bicycle, no matter how meticulously you explain the pluses of the mechanics of this whole miracle. Movies still need conflict, they need characters, they need action, and the viewer needs to believe in everything that is happening for at least an hour and a half. Traditional cinema today has hundreds of techniques for this, while the brainchild of Bekmambetov has to resort to surprisingly ridiculous manipulations that put an end to all the persuasiveness of the narrative.
For “Dnyukha” this absurdity is only enhanced by Karimov himself, whose plots, with the exception of the debut, have always been famous for overly expressive and illogical actions of the main characters, with which he spoiled, perhaps, would have become his best film “All and at once”, ruined all good beginnings in “Walk, Vasa” and shattered... "To pieces." “Day” on this scale, of course, is worse than “Walk, Vasi”, but attempts to remove the type-American type-Cohen nonsense, of course, does not reach.
“Day” is “Bitter!”, based on the script of “Corporate” with characters from “Freaks” and trying to be a comedy about friendship and love, having neither the first nor the second, because all these beautiful human relationships are here exclusively the subject of blackmail and manipulation. After all the “fun” adventures of our cheerful friends Happy End could be only one – they are all sent together to a madhouse in order to fence off society from them and themselves from each other: there is a scene where they launch a drunken man into the river on an inflatable mattress, thirty people look at this, peacefully acting out a Scandinavian funeral. So when they tie fireworks to a drone and shoot at each other, steal automatic rifles from the local police station and shoot bursts into the air, you don’t empathize with them, you don’t have fun with them, you just hope that they just shoot each other and there will be a little less clinical idiots on the planet. Even root for the village man with a shovel, trying to hit her one of the “heroes”.
Almost everything that happens on the screen, we see only because the characters have a beautiful trait to lay out all their trips to the toilet on YouTube and share them with each other. Of course, one can refer to the fact that in the media there are constantly flashing videos shot by teenagers, where they mutilate other teenagers and are proud of it, only Karimov’s characters are not teenagers, however, everyone does what people do only in educational institutions, trying to impress peers with whom they are forced to coexist. 25+ characters just don’t need to do it, but they seem to be spending a lot of money on it. And the film does not explain this in any way, as if the basis for everything was the comment of some age-old producer, they say, you know, “youth – it’s just us ... this!”
Of the advantages, we can distinguish only interesting jokes and, in general, a good acting. But they have little effect on the perception of the film as a whole. And despite most complaints about screnlife, it’s worth admitting that it’s not that bad. Or rather, it is not the main problem of this film, moreover, Karimov quite successfully coped with it, giving the film quite good dynamics and development within the computer interface. The main sin of Bekmetov’s technology here is that it causes characters to be strongly attached to social networks and video hosting and, unfortunately, in this film, it has no social commentary or meaning for the plot – only a technical cost to the authors themselves. They just wanted the movie to be in screenlife and that's it. The main disadvantage of the film is quite typical for the more traditionally made Karimov unsuccessful films ("Shackled" and "Walk, Vasya!") - repulsive characters, manipulating each other solely for the sake of moving forward attracted plot.
Karimov knows how to make good films, which he has repeatedly demonstrated, he even finds the courage to experiment genre, so you expect something cinematically bright from any of his projects. He already had experience, and quite tolerable, in 'drunk' comedies ('Walk, Vasya!'), albeit in the field of Kryzhovnikov, but Karimov does not seek to exploit the alcoholic mentality to the fullest, he manages to extract from this shameful frenzy something necessary that not only smiles in a good way, but also makes us a little proud of our national absurdity.
The picture is shot in a fashionable way, using modern communication skills. The whole action is cut into small ' videotics' which differ from each other only by the degree of intoxication of the participants of the celebration, and therefore by the heat of madness. A hangover investigation is carried out within the framework of a variety of virtual communication, where not only friendship is tested, a new cell of society is born, but the next one is happening ' epic' reconciliation with life realities. Every friendship goes through this, sometimes painfully, but it’s also the most important stage of growing up.
There are almost no vulgarities, some small hints, but really working jokes are not so much. In general, all these 'glass frames' much annoyed with its primitiveness, because the picture claims to be a kind of soulfulness.
I will recommend the film for viewing, because the director did not seek to remove another alcoholic black woman, he sincerely tried to interest, feel, that is, remember. I think he did it.
Roman Karimov made a comedy about a topical question for many: “How to combine entertainment with slightly abnormal friends and a serious relationship with a girl without losing either?” In some places it turned out funny, in some moments relatively realistic, in others - with exaggerations permissible for comedy.
The film is shot in the manner of the acclaimed project Levan Gabriadze “Remove from Friends”, which paid off at the box office more than 30 times – all the action takes place on a computer screen, and the viewer follows the development of events together with the main character, clicking on YouTube links, making video calls in Skype or Viber, correspondence in Vkontakte. This approach fully corresponds to the reality surrounding us and fits perfectly into the plot, where all the main characters are a little more than 20 years old.
The main advantage of the film is that it shows, albeit in an exaggerated comic form, typical students (or graduates who began to earn their first money). They do not yet have families, children, mortgages, serious responsibilities at work, obligations to anyone. No worries, still ahead.
Pros – an interesting, though not a new manner of shooting; unfamiliar faces of the characters, perfectly matched by age and character; a boring plot; some good jokes.
Minus - for those who in their youth did not participate in noisy parties with a large number of alcoholic beverages, there is nothing to watch in the film.
7 out of 10
Why did I love Roman Karimov’s films so much? For some simplicity and rapid development of events. Yes, of course, humor can be rude, and somewhere and at all skips something achy, but such is the bold directorial style of Roman. The comedy “Dnyukha” caused an ambiguous reaction, but this review is still green, because the pros are slightly more than the cons.
The picture did not confuse me even with its submission through the desktop laptop of the main character. Still, screenlife for me as an incomprehensible delicacy - I rarely tried it, but I did not understand whether I like it or not.
The tying of the film to outrage is simple and will not surprise even an inexperienced lover of comedies. At the very beginning of the viewing come to mind and “Bachelor party in Vegas”, and “Project X: broke”, and “21 and more”. It would seem that the topic is not new, but the search for cause-and-effect relationships after a good whistle is a great central idea of the film, time-tested and stable audience interest. The plot of the picture presents interesting turns, and sometimes even surprises with simple, but damn funny moments. It is funny to watch the behavior of young people after a country party in honor of his birthday, as somewhere you recognize yourself - still young, inexperienced and putting on "Kinopoisk" 10 points vulgar comedies.
As for humor, everything here is ambiguous. Jokes are more based on stereotypes about personalities and their behavior. It would seem that the viewer has repeatedly crossed paths with similar characters in real life and due to this, should be more immersed in the atmosphere of the film, but, alas, not. The characters of the picture turned out to be somewhat caricatured and their weaknesses (which should cause a smile) are too hyperbolized. Perhaps I am just a bore and such humor will not fascinate me, but the fact remains.
The film is light and does not cause a sense of shame for the inappropriate jokes of the creators, as was often the case with the creations of Enjoy Movies. “Day” is a good youth comedy, which is worth watching after work / school, in order to distract from the corruption of life and immerse yourself in a dynamic narrative. The script of the tape is able to provide not only funny consequences of violent fun, but also morals, which, although presented as simple as possible, but affects the main topics of youth: love, friendship and relations with parents.
Of course, this film is not a masterpiece, but I would recommend watching.
6 out of 10
Roman Karimov shot ads for Skype, VK, YouTube, Viber, Dudya, etc., but forgot about a good film. Characters throw such primitive and so worn-out and obvious jokes that against their background, even some KVN team will cause homeric laughter. Yes, and call it jokes will be loud, it is the most that neither is the Bayanas and anecdotes for three hundred. Do not think, the movie is not vulgar, Karimov does not slide into Andreasyanovshchina, but does not show the level of his own ' Inadequate people' and 'All at once'.
He's just tormented for an hour with a little, little look out of a laptop with all the commercials. Why was it removed, because there is exactly such an experimental ' Remove from friends ' Well, it's horror, and Karimov decided to make a comedy! Only this dead number and to make fun of the film is able only very short-sighted viewers or under some substances, however, it is understandable, because the screen shows their kindred souls - just as short-sighted, stupid and absurd.
The question of who punctuated the title of the new film by Roman Karimov is open. Whether it is the director himself, the year before last, who put his first timid exclamation point in "Walk, Vasya!", or it is the producer of All Russia Timur Bekmambetov, who hit the jackpot on "Bitter!" and "Bitter! 2". Anyway, in our cinemas got not the usual sluggish "Day", and "Day!", cheerful and loud.
The start video and photo slicing in five minutes places the characters in their places, gives them backstory and explains the name of the virus “heel”. Anton and Marina met at the birthday of Kirill, which means that the next birthday of Kirill (celebrated in Volgograd) coincided with the anniversary of the meeting of Anton and Marina (celebrated in Samara). During the year, Marina learned to ask the important question: “What is more important to you?” Practical Anton decides to eat a cake with a candle and get back on the plane.
The laptop is opened, iOS is downloaded, available Wi-Fi is selected, passwords are entered: Viber, Skype, Vkontakte. From that moment until the end of the film, only this screen is available – a macbook screen discovered by Anton in an unfamiliar apartment locked outside. A friend of Pasha informs Anton that he stayed in Volgograd with “some woman” (my euphemism) and sends several YouTube links from the party. In one of the videos, Anton has sex (“Hot brunette fried in the toilet Watch online FREE and without SMS”). Marina sends messages - where are you, it's an anniversary. In Skype, Anton manages to beg forgiveness for the delay, not even begging in words, but to win on the guitar. But it's online. Something needs to be done now.
The whole movie on a computer monitor is no longer a unique idea, but it is still undisturbed. From the Russian side, Bekmambetov himself is engaged in domestication – “Unfriended” (and there will be “Unfollowed” and “Unfriended 2”), “Profile” and “Liked” have already been shut down for his production belt.
Roman Karimov carefully follows the concept that the camera never looks directly into the world. Small and incomprehensible smartphone videos friends carefully forward Anton, who clicks fullscreen. For the filming were specially selected not much lit up actors - everything according to the canons of the mocumentary. All the youth coped with the task: Eldar Kalimulin – “excellent”, Alina Titova – “good”, secondary – “good” and “good with a minus”. The weak link was suddenly Marinin's dad. The most experienced of the actors of the film, shaved for unrecognition, Igor Brovin noticeably oversteps the stick in the emotional disclosure of the character - a police colonel. But pseudo-documentary comes to the aid of Igor, partially reducing his file: how many cattle (mo)ments are found in real life.
It may seem that in this film the ultramodern form is more important than the ordinary content, but this is not quite true. The form mixes with the content, creating good jokes at the output like referring to the well-known meme about the insufficiently enthusiastic tone of correspondence, materializes the fear of confused windows of messengers, and also provides plot twists. In general, the conflict of generations is complemented by insufficient computer literacy of older people: Anton’s mother forgets not only to turn off the capsule, but also to disconnect from the Skype conference. I don’t think you need to add an upper age limit to this movie, like 16+++60-. Old people need to understand approximately how social networks, messengers, and be attentive - on the screen often occur two cases at the same time.
And who is attentive, he will be rewarded not only with obvious and often high-quality jokes, but also with all sorts of funny little things on the periphery of the screen, like deep-thinking inscriptions in girl profiles: “There is a cross on the neck, there is a zero in the soul” or “I thought that I loved – it turned out that I liked to think.” Feminists, feminists and radicals need to pull themselves together from tolerance: there is an objectification of women in the film. Cyril’s attitude towards the beautiful sex is, to put it mildly, utilitarian. But here's what I thought. To make a movie about murderers, for example, you can, and in some cases you can not even expose them as an unambiguous evil. So should Karimov be accused of making one of his characters, a resident of the Volgograd suburbs, a lustful goat? We're all for the truth, after all. Goatiness and provincialness, however, do not prevent Cyril without errors to write in chat, and in general, literate all.
Despite the stationary main camera, Karimov manages to keep the heroes in constant time, and the viewer is cheerful, with an exclamation point. The mood of the film was transmitted to the authors of the subtitles, who also apparently decided to joke and translated “kebabs” as “hotdogs”.
Jokes are jokes, but what about without sadness? They have Karimov, but little and almost not sad. The lyrical-dramatic part is really simple, and when it is refined, the smell of a spoiled ending is heard in the air. The seemingly bright ending is just a trick, a variation of banality. But it's also love, and we all know that love is one big pattern. Let the children fall in love, let's not stigmatize, but condescendingly laugh.
The format of the film “Day!” can shock any moviegoer. It feels like you're not watching a movie, you're Skype chatting. This film presents the usual online household of modern Russian youth. It is immediately clear that the director and producer Timur Bekmambetov wanted to shock the viewer. This film does not pretend to be anything: it simply tells about the lives of modern youth. The young viewer is unlikely to pay more than 200 rubles for this film, because the film is complete nonsense. The film raises a very important theme of “male friendship.”
Male friendship is stronger than family or romantic relationships. Girls are always sidelined when you need to go to a friend's birthday party in another city. At the birthday party, as always, everyone gets drunk. Alcohol, youth, Skype – all this is revealed through a special format of the visuality of the smartphone. Alcohol is given a lot of attention in the film (and especially a hangover). Why is it necessary to drink young to insensitivity? I don't get it. Alcohol and sex are all permitted protests in the consumer society.
The tagline of the film – “This is not forgotten!” – reveals the power of the Internet. What gets into the network from there can not be removed. The video is gaining likes, because in Russia all young people like crazy parties and holidays. The main character, Anton, loves his girlfriend Marina very much. I found the film boring.
I was disappointed that producer Timur Bekmambetov took on such a simple project. I like the producer Bekmambetov, but I was disappointed because of this film. It's too simple a project. The film does not claim anything.
A good Russian comedy, what is it? Rhetorical questions. But we have a good Russian director so far.
All the films of Roman Karimov can be safely watched, well, if you are interested in Russian cinema. And here is actually a new film, very warm, we just have to find out that this is a candy from the oven or ...
Day! This is a comedy assembled in a screenlife container, that is, the entire action of the picture unfolds on the computer screen, due to viewing video games and mouse clicking on the screen of this computer. Watching this in the cinema on the big screen is unusual, more for viewing would suit the TV or computer.
But watching the movie definitely deserved it. The format, although not familiar, but the content is quite brisk and does not give reason to be distracted by it. Everything is really like a symbiosis of hangover sleep and hangover surfing on the Internet. Actors are organic. Provincial romance is present, which is also a plus or a minus (flommasters are such markers).
It is worth seeing, and when you look, it is everyone’s business. You can now – especially if the session is cheap, and then – at home. The film is an unusual romantic candy, based on the realities of the Russian film industry.
We went to the “Dnyukha” on the day of the premiere, sat in an empty hall – there were four other people besides us. I thought this movie went wrong. The fourth day is already coming, and now I will try to formulate my opinion on this.
I love our movies. I love it – inexplicably pulls to him, as pulls to climb to the roof of a Soviet high-rise or buy a bottle of Borjomi for the last money. There is such a feature of him, a feature that words cannot even convey. Feeling, believing, experiencing. I like movies about Russian reality – without “black”, as in “Leviathan” the same, but something real, ordinary, but so warm and native. "Bitter," for example, teeters on the boundary between the absurd circus and what I've seen repeatedly at weddings. Honestly, I was expecting something similar from “The Day.” I especially wanted to go when I saw Karimov in the directors, I remembered “Everything and at once”, the imagination drew a picture of an epic birthday, shot on the phone, the adventures of teenagers who completely went into a breakaway, and the movie poster fixed this feeling. The trailer did not watch, let’s go, expecting that Karimov will justify and even surprise.
Amazing, the wrong word.
Almost the entire film we watch something like a live broadcast of the desktop Mac of the main character – Anton, who woke up after that very Day. I will not disclose the plot, and they do not do this here, but I will say this: the plot itself is very good, especially interesting for those who have been in Anton’s shoes.
The plot can be anything, but without adequate presentation it will not matter. And that's a very big problem.
The problem is that all the fun is filmed in real life - on the day, and on the computer screen, something happens between the cheapest sitcom I've ever seen in my life and simple gatherings on the Internet. Yes, while browsing the pages everywhere placed "Easter eggs", but half the movie to watch the folder "2ch" in the upper left corner tenses much more than it initially seems. Try to see her now. When the studios realize that a good film in this style can not be made in principle, it is not clear. The treacherous film “Hack the Bloggers”, also shot with the participation of Bekmabetov, was so bad that it falls out of the category “so bad that it is good” and proudly sits in the top “so bad that even with a company of friends it will not be good, no matter how twisted”. And the horror film “Get Out of Friends” is one of the dumbest movies I’ve seen, and it’s not scary at all. Now another film has joined this gang. It is not clear why to shoot films entirely on a computer screen - there is still no immersion, but it looks so cheap and fake that if you sniff, you can smell Chinese children's pistols with an orange plug.
There was also a problem — 15 minutes after the start of terrible headache from “interference” when talking on Skype and other applications. The effect was the same for any situation, whether it was a village call or a mother call. Very annoying and completely ruined any attempts to immerse yourself in the film. You do not get used to it, but on the contrary, you only strain more. And from a technical point of view and purely visually turned out bad, as if in post-production at the last minute screwed.
Nevertheless, the actors play well, especially the main character and his friends, but many jokes, actions, phrases – absolutely do not correspond to the characters, their age and behavior, as if young people were prescribed by screenwriters over 50, and parents – fifth graders. All some caricature, simple, one simple sentence to describe you can and not lose a single detail, the main character and friends are some too stupid, well, there was the opportunity to do it in a human way, even in "Walk, Vasya!" all were original and memorable. It could have been worse, so thank you.
In general, I don’t want to say that it was bad. It was unbearable to watch, but overall... Yes, I don’t know, advertising was everywhere, the director, from whom you expect growth after “Inadequate People”, hurt!
The main problem is that there is nothing new. It feels like a collection of jokes and stories about a military man, a heel that won a girl not his league, a “wild” day in the country outside the city, a friend who climbs under every skirt – stuck in one film and wrapped in a very unfortunate, limiting shell, and he now decides at the seams, wants to tell something really interesting, but calls for some reason on the votsap, lays terribly, and even the words parasites insert in two words.
A couple of laughs, yeah. It's like the KVN Premier League qualifiers are here. Everything is better than comedies, which are not funny at all.
Look at the house in the company of friends, do not have high hopes. Ordinary film for one time,
Roman Karimov ("Walk, Vasya!", "Inadequate people") - the key thing that gave me the impetus for going to the cinema, and even such a dangerous person as Timur Bekmambetov could not interfere. Karimov is perhaps the best Russian director, successfully combining elements of comedy and melodrama in his films. The latter is very much lacking in the new creation of the director.
"Day!" is a kind of another experiment (after "Remove from friends") within the recently formed genre (if I may say so) screenlife, when your life is transferred to the monitor screen. In fact, that's what's intriguing, it's interesting to see how this format works. The backbone of the plot, built on the fact that the main character has to deal with the negative consequences of the iconic party for himself, is far from new: something was gleaned from "Bachelor in Vegas", something from "Project X", etc.
As I say, the whole point of how well it's done is presented to the viewer. I’m not going to tell you, I watched the whole time. Dynamics is, good humor (sometimes and very cool) is present, the actors-nouneim look good and organic, and the whole Internet movement looks, at least, fresh.
Without worrying about the details, I will highlight a couple of significant flaws. First, some characters are ridiculously caricatured: this concerns, first of all, the parents of the main characters (if you remember absolutely any stereotype about the village or about the soldier father, you will find each of them in the presented cardboards). The second drawback was mentioned earlier: lack of melodramatism. Of the emotions I had only laughter, everything is easy and simple, but in other films Karimov could find depth, notes of experience. Here, by the way, I want to tell you about one ironic observation: it is unlikely that this genre will cause a person any other feelings than laughter and fear. The Internet is static, it is not an equal replacement for real life: a smiling smiley face will be rated below the sincere smile of your immediate interlocutor. I think the ending of the picture proves it (the only more or less emotional episode).
"Day!" - the movie, which I recommend to watch for those who are open to new things, has no boundaries in terms of humor (the vulgarity sometimes slips) and those whose friends need to be reminded of such a simple truth that individual personal moments should remain such, and not the property of the Internet community, garbage in the network and so enough. Good to see you!
I read negative reviews and wonder. The picture clearly has more advantages than disadvantages. Great characters breathe naturalness on the screen. Yes, they are at odds with the current trend of bright freaks in movies, when neither the character is a storehouse of contradictory absurdities. Yes, they are closer to us, to ordinary people, but we are. In general, a story about ' guys from the district '. And it was a great way to do that. As you watch, the guys on the screen become closer, and in the end, you even catch yourself thinking that you have become friends, penetrated, understood.
And yet - at first, the characters cause a little slight rejection - they are tough, and as you watch them you find more and more positive qualities. Nice to meet you.
The dramatic component is quite for the genre of comedy, especially for such a fashionable substyle 'screenlife'. And the last one was great. More than half of the scenes take place on the computer screen and it is not stressful. There is in history and brand Karimovskoye is a kind of barely noticeable warmth and love of the director to the viewer, humanity without moralizing.
Separately, I note that this is another Russian story not about 'Maskva' - the action of Samar and it is gratifying, but that neither the film is first-throne.
It worked. Viewing does not cause enchanting delight, but positive emotions and satisfaction will be with you.
I love Roman Karimov’s films for their sincerity, spontaneity and ability to show life without embellishment with all its idiocy, but at the same time kindness and warmth. And 'Dnyakha' despite not the most enthusiastic reviews of critics, did not disappoint my expectations. It's funny, cute, positive and recognizable again.
The producer of the picture was Timur Bekmambetov, who proposed his invention - screenlife as a form of presentation of the material. The whole film we see in front of us an image of the main character’s monitor, on which all the events consisting of video calls, social networks and watching videos unfold. This is not the first film of this genre, but it still looks fresh and interesting. There was a possibility that such an unusual form could prevent Karimov from realizing his abilities to revive invented characters, after which the viewer easily recognizes his acquaintances in them, and maybe himself, but the Roman coped with this rather rigid framework.
The characters of the film are young people experiencing perhaps the happiest time of their lives, a time of true friendship, recklessness and all-conquering love. The obsession to ugliness is simple - after celebrating the birthday of one of the characters, all the participants of the events are trying to collect from fragments of memories and preserved records on the phone a picture of the extravaganza played out. Yes, it is domestic ' Bachelor party in Vegas', decorated with Russian flavor and humor, not sliding to the bottom of vulgarity. And let jokes about parents who do not know how to use Skype properly, the summer cottage scattered after the party and the characteristic behavior of the girl in various everyday situations do not differ in originality, they do not cause rejection, but make them smile, and sometimes laugh in their voice. I think everyone recognizes himself in the moments of typing and erasing text messages that convey thoughts and doubts of the character.
The creators turned out a great light and cheerful comedy in the spirit of 'Project X' which will definitely lift your spirits and not make you seriously think while watching. The only thing I lacked was a more energetic and abundant musical accompaniment that would allow me to better immerse myself in the atmosphere of a reckless holiday. But even without this, the film can safely be brought into the treasury of good domestic romcoms, which are not so much.
8 out of 10
Bekmambetov is surprising. Initially, his idea to develop screenlife seemed not particularly interesting and something promising. The fault is quite mediocre initial experience in the form of "Remove from friends", where the most sane detail looked only the method of presentation of material, being the only well-made element of the existing poor consistency. Fortunately, Timur decided to go beyond horror, giving the screenlife in the hands of directors with a different style and giving free rein in the genre direction. This format got Roman Karimov, known for his tragicomically soulful "Inadequate people" and funny "Walking, Vasya." Karimov took up business, filled the story with his humor of varying degrees of adequacy and gave the viewer "Dnyukha". The tape, which, despite the horribly bad poster, flaunted everywhere, came out quite funny thing.
"Day" is a full-fledged youth breakaway, fervent and energetic, but most importantly, recognizable. Skype parents? Friends with their jokes? A girl with familiar behavior? Karimov once again manages to shoot something funny without looking far. “The Day” in its most pleasant elements exists in ordinary life and takes its roots from it. The degree of frenzy "Bachelor party in Vegas", of course, is not achieved, but the tape Karimov is not very much going to claim this. According to the fact of the story being told, as well as to the audience, it becomes completely indifferent to the apartment mystery with imprisonment, placed at the beginning, since without trying to solve it, the film quickly moves first of all to attempts to correct and solve the video problem that occurred due to the alcoholic oversight of the past holiday. "Day" works with cheerful action and cheerful images of heroes, allowing its viewer to sincerely laugh at what is happening on the screen.
Perhaps it is the screenlife that sets this story apart from others. If you dig deeper, then such a wild separation, carrying with it a frightening unconsciousness that leads to other problems, has already been tried by many. If you get used to the already familiar application screens, then it will be much easier to dive in and relax on the tape. Here, the action on the other side of the apartment, in which Anton is locked, does not fade for a minute, but only gives reasons for a smile. Whether it is some comment in the background or a strange act of the hero in the front. Karimov goes into a funny screen world with an understandable life at the head. Here you and recognizable reflections when typing messages or recognizable parents, recognizable types of friends or the most recognizable actions. These noted details play a very important role in the final perception of the tape, which was noticed by Bekmambetov, who is likely to use many of the shown details of our behavior online over and over again in his future projects. There is no doubt that there is enough waiting for the viewer. We hope that the projects will develop in different directions, trying something new. Fortunately, an excellent "Profile", shot by Bekmambetov, gives grounds to be calm in the foreseeable future of screenlife.
Undoubtedly, the deep message here to look for will be rash: in the same "Walk, Vasya", leaving at the end of the drama, you can see some pleasant for the viewer morality. “The Day” ends as it began: simple and easy. Karimov made an explicit emphasis on humor, not tragedy. And that's the right choice. To laugh at the youth vacation will not be superfluous. Especially considering the more sad arguments about the current generation coming out soon from loyal disciples Serebrennikov. Somewhere trish humor will scare away the audience aesthetic and thin, the tape is clearly better not to watch people who do not like all sorts of "Project X", but if the viewer, in which lives and thrives love for humor of varying degrees of blackness, decides to look at the new work Karimov, then "Dnyakha" will be a pretty good and worthy option for a fun viewing.
Roman Karimov is an outstanding director, of which there are not so many in the world. Up to this point, somehow managed to make a candy in every way available to him. Given his financial capabilities, it's not hard to guess that it was a severely limited arsenal. But little by little, he was able to make quite professional content.
The film Dnyakha! became a victim of the production Timur "our everything" Bekmambetov. The main problem of the film was the style with which it was decided to present the spectacle to the viewer on the screen. And this manner almost completely eclipses the native style of Karimov, from which horns and legs remained. In no case do not want to shout at the author for the fact that he sold out, but a good idea in its essence was, to put it mildly, destroyed at the stage of pre-production (if initially they planned to shoot, of course). Absolutely the whole plot on the screen is presented exclusively in the form of correspondence in various social networks, video links and watching videos on youtube. With all due respect, to the authors, for such school crafts do not want to pay at the box office of the cinema.
If you try to abstract from the rather weak implementation of content, then you can try to find many interesting scenes behind it. First of all, I recall a cute video to music from Criminal Russia about the hen heels of the main character, funny actions of friends to find and remove the unfortunate video from the Internet, the attempts of the main character to remember what happened to him on the last birthday, his difficult relationship with the father of his beloved girl, whom he could not remember his name by name and patronymic. But all this is not enough to bring the product to the best representatives of the genre of youth comedy.
The title of the film also introduces a somewhat stupor and on the output you understand that it is purely marketing, since almost all the time of the action occurs the next day, leaving us only bits in the form of videos on a well-known service on the Internet. Completely forgetting about such a concept as camera work and editing, the authors did not forget to shove as much as possible into the film. And if you understand, forgive the display of services through which the characters of the picture communicate, then the advertising of the next shampoo could be omitted.
As a result, we have another attempt for modest money to break the jackpot. Such attempts will not be enough and this is sad. But the real movie doesn’t smell here. You can probably find it in the next room of your movie theater. I'm not saying, but you can try.
Karimov is almost the only normal man in Russian cinema, making cool comedies. And not only that they are funny, so they still have drama, and the same Russian life!
Karimov also likes to experiment. If "Inadequate People" is a pleasant, lamp movie, then "All at once" is a crime comedy. "Day!" - the film ala "To remove from friends", but, instead of a typical horror, Karimov shot a typical comedy.
And the movie is really good. But rather than talk about its merits, I would rather point out its shortcomings.
First, if you haven’t seen “Get Out of Friends” or similar movies (like “Hack Bloggers” (sorry), get ready. You'll be hurt in the movies. But then get used to it! Probably.
I think “Day!” is a film for home viewing, so it’s better to wait for it on the blueray and watch it on TV.
Secondly, the film, although really funny, heartfelt, pleasant - but the characters here are nothing. Let’s discard “the pyramids are not opened!!!”, and look at the characters themselves – these are archetypes. The main character is a Chilean loch who is lucky with a woman. You've seen that everywhere, even, God forbid, in "Real Boys" (I'm lucky for comparisons today). The girl of the main character is an ordinary baby girl. The protagonist's father is your drunken father.
And I understand why it's done. Karimov decided to go out on recognizable images, so that we began to believe in what was happening. After all, such a movie is almost without directing, so all jokes must be written in the script.
The jokes are not perfect either. Sometimes Karimov banishes the same joke - for example, with the name and patronymic of the girlfriend of the main character. And it's not funny.
Fourth, and that’s my main claim to the film, the protagonist doesn’t do anything at all. He wakes up in an unfamiliar apartment, and that’s it. It doesn’t try to go outside or check its location (via Google Maps, for example). All his problems are handled by friends - they are constantly running somewhere, and the maximum of the hero's actions - apologize to the girl. And that's wrong. An additional line on that and additional, it should complement the plot, and not ... perform it.
Despite all of the above, this is a good Russian movie. Yeah, problems. Yes, "walk, Vasya!" Still the best Russian comedy of recent years. But Karimov manages to go out on life and soul, showing that he can make a good film in one script.