I don’t know how it happened, but the film immediately fell into the mood, especially the beginning.
In general, this is a rare combination of well-recognized and soul-atmospheric sketching of characters and purely technical techniques that support and escalate tension. It is clear that the irresponsibility and carelessness of the lower and the amazing calm of the higher ranks are greatly exaggerated, since without this, by and large, there would not have been such a tragedy on the screen (and in life). At the same time, it is impossible not to say that all aspects of the situation are not shown - various shock states, panic, looting.
Life drama is coupled with qualitative realism (within the framework of reasonable and art, of course), which sometimes even makes you feel (there are at least three such moments, and the right actors play quite convincingly). There are also sagging, but for some reason they do not cause rejection as a prolonged push-up of tears (here it is rather sudden). Maybe because the movie is not without humor.
The scale of what is happening is also characteristic. More emotions are extracted from greater locality, for there is more room for personal dramas, which multiply the effect of perception. I think if you add an order of magnitude more money to the budget, then all that will change is at best only special effects, but with an increase in nominal sharpness, the empathy of the viewer will be lost.
The film is by no means a masterpiece, but it is quite strong and equally strong in all the necessary components, which is a wild rarity for Russian cinema of recent years.
So, see you on the subway?
I try not to watch Russian films. I also kept myself from watching this. Everyone was saying, ‘Look, he’s good.’ Our cinema is reviving”. Well, Channel One gave me that opportunity.
Hundreds of people are at the epicenter of the disaster. Everyone behaves according to their nature: someone runs, someone helps, someone behaves like a scoundrel. We all have one goal: to survive. And everyone gets it in their own way. ..if he ever does.
At the heart of the event:
Garin, Konstantinov and Irina are love triangles. Without this story, the film would be boring. It is interesting to watch the struggle with himself the main character Andrei, for his relationship with the lover of his wife, for the denouement of this drama. But it is a pity that the script was based on this zest, something else was needed, something worthwhile;
Ksyusha - it seemed to me that her acting was too "twisted", I did not feel her true experiences, her fear of death, her fear for her family;
Denis and Alice - a huge plus for the writers for diluting the love triangle with the nascent relationship of a young couple. Self-sacrifice of a young man for a stranger is very touching;
Tick diluted the atmosphere. I will not say a word about Michael's incomprehensible death.
It's a good movie. Sometimes it clings to the soul, tears broke a couple of times. The special effects were good. The finale was predictable, but as it should have been.
But the film “Metro” can hardly be attributed to the revival of Russian cinema. Will it ever happen at all?
Before watching Metro in 2012, I was almost the biggest skeptic of Russian cinema. If not for the recommendations of people with good taste, I would not even think about watching.
Film disaster A disaster that could have happened in reality. I really do not like the phrases from the series “the author wanted to say this...”, but I just venture to assume that Dmitry Safonov (the author of the book “Metro”, taken as the basis of the film) was not straightforward in his idea. It is possible that this story acts as a kind of hint to the authorities that sometimes it is worth thinking about what it costs the city to withstand human greed and irresponsibility.
Accident in the Moscow metro tunnel. Crowded cars meet with the water element. Bodies in cars, wounded and frightened people who desperately want to survive. In these monstrous conditions, people show their true face. Out comes all human vices, weaknesses or, conversely, strengths, which the heroes could not have guessed.
In the spotlight are several passengers who did not succumb to mass madness and waited before moving to the surface. 7 different and strong characters. One character is not like another. The filmmakers gathered actors of different levels and experience. And for the first time, I want to mention the casting director separately, even though I don't know his name. For each hero very accurately selected the actor.
The film keeps in suspense throughout the action. This is due primarily to production artists and creators of visual effects. First, the scene with the emergency braking of the train in the tunnel was qualitatively executed. Slow Mo was dosed correctly and applied absolutely to the site. Views and close-ups gave special drama to what was happening. In addition, the situation is aggravated by dark flooded tunnels. Anyway, it worked out atmospherically.
The picture is constantly in dynamics - there are no long and tedious monologues about the severity of human fate. There is no time to think about it when you have to survive. It is good that the director (Anton Megerdichev) understood this.
It seems to me that this is how passengers, authorities and journalists could behave in such a situation. Frankly, it's not reassuring. I can’t say that I have a fear of the subway, but I now strain every time I see small puddles between the tracks.
To the surprise of many, the attempt to turn the concept familiar to the Western film market into a successful domestic project of high quality can be considered a success. And if Hollywood has their Daylight and the more ambitious 2012, then now we have our Metro. The plot lacks stars from the sky and presents to our attention the classic story of the struggle of a group of people for their lives in extreme conditions. The first scenes are expected to be the backstory of the main characters, in particular, the circumstances that led them to the Moscow subway car. There was a place here for the classical element of anticipation of tragedy by individuals. In other words, we have the salt of most successful ideas of disaster films, as interpreted for the residents of the former CIS. The plot develops without any surprises and “wow moments”. But the most paradoxical thing is that with the ubiquitous tracing of what has already been seen before, with the expected development and even the end, it is really interesting to observe what is happening. Two hours of screen time pass imperceptibly quickly, we can say, in one breath of involvement, and this is a big plus.
We must pay tribute to the creators of the picture in their desire to convey to the viewer a dramatic story that can happen not only on the other side of the screen, but also in real life. They were not afraid to touch on a rather sensitive topic, because after watching the film, each subsequent visit to the subway is accompanied by memories of what they saw. Artistic, it would seem, fiction, and touches the living somewhere inside. The whole film can be divided into events before the emergency in one of the tunnels of the subway and after that. So most of the scenes after the accident are saturated with a surprisingly oppressive atmosphere, it is felt that a group of people are cut off from the external civilized, and never for a moment stops its rapid movement of the world. This is well conveyed in a scene where the cries of desperate people are not heard just a few meters away because of the bustling life of the city.
Visually, the picture looks worthy, especially given all the same ubiquitous flirting with the ideas already available in the West. In some places, not quite appropriate use of computer animation lubricates a pleasant impression, but here are the scenes performed in real scenery, shot on a strong four. As I mentioned above, there is a lot of focus on the development of the main characters. Here and ruined by alcohol life, and adultery, and the emerging feelings of young hearts. It turned out to be a rather diverse and emotional story. Its development, oddly enough, contributes to the general seriousness of what is happening, where “without bills” shows people’s injuries during the tragedy and their further struggle for life in dark tunnels.
7 out of 10
Before the release of the film, a friend of mine told me that he would never go to this film because everything in it is already clear. He suggested that first we will be presented with a typical weekday of several main characters, who will be together on the same train. Then there will necessarily be a leak / breakdown / drawdown by someone’s mistake, then a disaster, a bunch of corpses, several survivors who in the process will take turns to be eliminated from the game. And in the end, a couple of simple and young guys will survive. I laughed and went to the cinema.
In the middle of the movie, I was really sad. It’s sad that I don’t understand why these films are made. Movies where everything is known in advance. I won’t say that I wasn’t impressed by the film – it was shot and edited very well. The sculptors tried their best and made a perfect stele, smooth as silk, in which there is nothing superfluous, where everything is beautiful and graceful. Sweet and even sweet filling in glossy packaging, which you eat in an instant without thinking. But the aftertaste gives bitterness, because my friend was right in everything, almost guessing the plot. The whole film is a complete set of stamps, where there is no place for originality. I’m not going to talk about film blunders or the fact that the characters behaved strangely in a particular situation, I won’t find fault with the technical component, which goes against the realities of the subway. It doesn't matter. Without such inconsequential details as implausibility, not a single high-quality blockbuster will work, because after all, this is an artistic genre, not a documentary.
But there should be an idea or at least a plot different from a thousand cloned plots of world cinema. Of course, demand creates supply. Therefore, it is so easy to keep the viewer’s attention: special effects, trembling lips against the background of lyrical music and a love line. But when I left the room, I asked myself one single question: “What did I see?”
4 out of 10
Today for the sixth or seventh time reviewed this film and finally ripe for writing a review.
For the first time I learned about the trilogy of Dmitry Safronov four years ago, and “Metro”, which is the second part I went to see the movie solely because this book is the second part, and I was interested in how the second part of a non-independent work can make a separate film.
It turns out that it is very possible.
When I came out of the cinema – it was back in the spring – I knew that Russia had finally learned how to shoot a worthy film disaster. I’m not going to say that I’m afraid to go on the subway, no. But this movie was massive. The scene of the train crash in my personal rating of the scenes of disasters can be put on the same level with the collapse of the house in 2012.
The confrontation between the two main characters has been pushed to the limit, and my sympathy alternately passes from one to the other, without stopping at anyone. Both actors played well.
Many people scold Svetlana Khodchenkova in this film, but it was after him that I did not pay her attention. The scene when she found out that Xyusha in the subway is so full of heat and pain that spills from the screen.
There is not a single random person or extra frame in this film. Two and a half hours in one breath. I really hope that other parts of the trilogy will be filmed someday, even with other characters.
The film is a wild mixture of all sorts of negativity. A large number of corpses had to be "killed" in the most ridiculous ways, in violation of the elementary laws of physics. Heroes are all cowards, scoundrels, stupid and drunkards, starting with representatives of the authorities and ending with ordinary passengers. No one is sympathetic, and it was originally planned. For example, drivers, as far as I know, have a weight limit, this is a purely medical rule. And here in the cabin planted a fat boar, so that he one of his appearance caused the audience dislike.
The question is who makes these films, who needs them and why? It's no secret. They are needed by numerous losers, whose motto is “I am good and amazingly talented, and I live badly, because the country is g..o.” So they thirst for confirmation of all sorts of negativity in the movies and on news feeds. Note that on the Internet, any positive news about the events in Russia (new production, good harvest, etc.) is not commented on by anyone. And any negativity (accident, terrorist attack) collects dozens, if not hundreds of rather monotonous comments such as “the power is at ... dy, the country is a dumpster, we will all die.” Losers don’t need good news, and who else is going to be online? Normal people have more important things to do, they won’t waste time writing comments. However, the question remains – why is it all this audience sitting in hated Russia and “working for pennies”, and not go to work in the United States or Europe, where their talents will be appreciated? Are they patriots or are they being held by the FSB? The only argument left to the bloggers is “Fuck you...!!”
Oh, yes, there’s another cliché in the film: a rich bastard lover and a poor but noble husband. I suspect family dramas are not uncommon in this environment. But the wives of losers often go not to rich businessmen, but to ordinary people who can earn something and support a family.
In general, the national cinema can be congratulated on some successes. A professional analysis of what audiences go to the cinemas and what they want to see is already visible. Not bad for the domestic film financial indicators speak for themselves. For successful training in the great business of shaking money out of the crowd, you can bet
3 out of 10
I have long since heard of the film, but I have only seen it now. Various comments remained in memory, both positive and negative, but there were no special expectations of a breakthrough or failure.
I did not like the expression of emotions of almost all actors, a lot looks so incredible that absolutely do not believe in the possibility of the origin of such (and it is pleasing).
A small story in the beginning, probably, should have greatly aggravated the situation during the subsequent events (otherwise, why it was necessary), but I did not notice any serious tension.
I’d love to see the emotions of despair, panic, and hope throughout the film, not just in the beginning, when the abundance of extras mixed with special effects ensures it all. (I like to believe that the behavior of people in such an environment is not the same: a woman will not calmly try to continue reading a book, it is not clear who runs on cars and beats those who are caught on hand.)
It is possible that the theme itself is not so voluminous as to show a lot of “adventures” (although, I remember, there was some movie with a tunnel where the plot was full of events), but I found the movements of the characters very meager: car-tunnel-bunker-tunnel-station-freedom. It turned into some meaningless inserts, irrelevant.
In the end, the film did not leave the expected disaster film heavy impression about the danger that can await me even with all its improbability.
“And this is not our problem that the development of the center has become too dense” (c) Metro.
A disaster movie. A drama film. A film with stunning visual special effects for Russian cinema.
And now more about it.
I just want to note that this project involves a good cast. Sergey Puskepalis: his hero Andrei Garin, a wonderful surgeon of the district hospital, who painfully tolerates the betrayal of his wife and keeps silent about it, so as not to traumatize the psyche of his daughter Ksyusha. After a disaster, he has more knowledge of how to save a man than anyone else and tries to help than he can. Svetlana Khodchenkova: her heroine is an unfaithful wife who is in a love triangle and suffers from it as much as her husband. He wants to leave him, but he does not dare. Anatoly Bely: his hero Vlad is a successful businessman who started an intrigue with the wife of the surgeon Garin and tries to take her away from the family.
If we talk about the disaster, then first of all I want to note that water is the main enemy of the tunnel. And that’s why I’m putting her in the role of the villain in this film. But in this film, they could not prevent a catastrophe, since sometimes people do not listen to the opinions of professionals and believe that something seemed to them or imagined to once again not twitch and sit quietly in their warm seat.
“This water is not good. Strange she ...” (c) Pathfinder.
Beautifully shown the main moment of the film, when water begins to flow from the arch of the tunnel and the train gets into a disaster: the grinding of wheels, sparks flying from under them, the derailment of the train, the tremors of the train on the finishing of the tunnel, etc. All this with beautiful visual and sound effects (made in London, as Igor Tolstunov said) looks very elegant.
I also want to say that, as in many films of various genres, there is good humor here, which slightly lifts the mood and brings out of the state of tension those who empathize with the heroes of the film, and then the plot throws these viewers back into a storm of fear.
Special attention should be paid to the camera work of Sergei Astakhov, who made many good films. Thanks to the angles that he chose for filming, you can immerse yourself in the atmosphere of what is happening and feel it all as if you are under the ground yourself.
And, of course, I want to express special gratitude to the director Anton Megerdichev, who wonderfully embodied this idea on the screen and turned out a great film.
To sum up: Amazing and memorable. The film is really worth it - not for once. I’ll watch it again if I can, as this movie should be watched on the big screen, because the special effects are just at their best.
The idea to watch the film “Metro” arose during a trip to St. Petersburg, in minutes of driving past the new stations located under the Neva. Perhaps there was some masochistic element in it, but in any case I did not regret that I turned on this film when I returned home.
I regretted, perhaps, only one thing - that at one time I was too lazy to go to the cinema. Because this picture is worth watching on the big screen.
Since I am a good viewer, in my short essay I will talk about the advantages of the film, without wasting words on the critic. And since I have not read the original book, I will allow myself to speak about the film, so forgive me this freedom.
The first thing that impressed and amazed at the same time is the scale of the picture. It turned out a disaster film, a real disaster film, in quality not inferior to its Hollywood counterparts. Watching the film, I unwittingly compared it to the famous "Titanic", and in the end came to the conclusion that the domestic picture even wins. The location here is limited to the metro tunnel, and it concentrates the additional tension, hits the rudiments of claustrophobia, and this is a powerful psychological aspect.
In general, if we talk about psychology in the film, then the specialists certainly worked for all five points - and consultants, who, it is believed, were involved in the filming process, and actors, on whom in this case depended a lot - in this context, I want to thank first of all the extras, coped with their task perfectly: running, confusion, screaming and fear. The picture is imbued with fear, he whips from the screen like water into the hole of the tunnel wall, and for this the creators of the film should applaud standing.
What special effects! What scenery! These impending waves of water, these flares of shortened wires, slimy walls and the devastation of the abandoned station - the entourage amazes with its naturalness, and you believe in the picture - believe in everything.
Heroes are alive - for this we should say thank you to the author of the book, and writers, and actors. Each of them is ambiguous, there are no bad or good, and from this belief in the realism of the picture only benefits - not a cent of extra idealization, not a cent of unnecessary cruelty. It's real.
The main character Andrei is far from ideal, although he represents the main positive image in the film. There is nothing special about him - a caring father, a talented doctor. People who are silent and are stone walls. I’m happy for his wife, who finally made the right choice. I want to note the acting game - a living face, and an even more vivid look, and in the process of viewing you completely forget that this is an actor, and the hero is only an image.
Svetlana Khodchenkova also coped well with the role. The role of Irina is interesting in that it was supposed to be little action, little “action”, but in the way the heroine rushed through the city clogged with traffic jams (and in a state of fear of the unknown to run – the first defensive reaction of a person, this is pure psychology – to run, run and run headlong, just do not stand still), in her hysteria after accidentally seeing the release of news fountains of emotions.
Oddly enough, but very positive impressions as a character left Vlad. You can’t call him bad, you can’t call him a bastard, he’s just a “man of his time” who sincerely and selflessly loves himself. Tenders, contracts, successful deeds and a beautiful woman in bed - that's his well-being, such a personal world he would like to have. Separately liked his cries and imitation of violent activity, even more liked the fact that some real activity was still — although in public, I suppose. Anatoly Bely - thank you, a considerable actor's merit in the fact that the second character turned out brighter than the first.
Rarely like the way children play in the movies, the actress playing the role of Xyusha liked the game.
A young couple was upset - it is difficult to imagine a more extraordinary acquaintance, it was even more moved by the care of everyone and everyone about our smaller sister, that is, a dog. A perfect example of what animals should not be forgotten - life is life.
Separately, I want to note the moment of the death of Mikhail - this episode is extremely psychological and as strong, one of those that made up the image of the picture as not only a disaster film, but also a psychological thriller.
So I'll give you ten points for the picture. Maybe there is something to complain about, but I did not find these moments, so my assessment is extremely positive. And I guess the emotions of watching the movie will not let me go very soon.
The first Russian disaster film. Expectations were mixed, but still most thought it would fail. There is a simple explanation: imitation of the West did not lead to anything good. Bondarchuk tried to make Strugatsky’s Inhabited Island in a Western manner, but the film suffered a crushing fiasco. Although if you remember what there was advertising: constant teasers in between programs, posters at each stop and constantly between programs (I repeat) showed the opinion of a singer or actress, how she praises the film. To be honest, Bondarchuk should be given credit: he tried, well, it did not work, it happens. As for this movie, the situation is a little different. Everyone was ready for another failure, but the unexpected happened: the film turned out to be good.
I’m not going to scold the movie for imitating Hollywood. And it doesn't really matter. The important thing is that he can even compete with Hollywood heavyweights and he is not at all bad.
Conventionally, I divided the film into 2 parts: a dramatic part and a disaster.
Let me start with a disaster.
The collision of the train looked great. The operator chooses rather unusual angles. The special effects look amazing. Everything is so natural and clear.
Then we see what is called panic. People start running in panic from the beginning of the car to the end in the hope of getting out, someone is trying to get out, someone begins to collect the belongings of the dead, someone is shooting everything on camera. Then people push, without noticing anyone run where their eyes look. By the way, the scene where stunned people run on water is very similar to the scene from 28 Days-Weeks Later. Even the music is similar.
But do you know why this is a real disaster? Because the entire subway flooded the Moscow river. It's just awful. Did you find it strange that this river could eat a hole in the concrete (or what the subway is made of)? It's really terrible. Swimming in this river is dangerous. If I am offered a choice between bathing in radiation or bathing in the Moscow river, then of course I will choose to bathe in radiation. At least there is a chance to get some superpowers.
And most importantly, this disaster could be real. The Moscow river is so muddy that it can probably eat a hole in some metal.
It looks pretty good, though.
8 out of 10
Now drama.
The film begins with the fact that the charming Svetlana Khodchenko is having fun in bed with Anatoly Bely, who is very similar to Mark Strong. They have fun and have fun while the husband of our heroine, the surgeon works out the night shift and saves the life of a schoolboy who either swallowed a toothpick, or some other sharp object.
In general, in terms of drama, everything here looks like Hollywood. We have a protagonist, a father, with the right thoughts. And he has a little daughter.
There are also a couple of young guys who, of course, in the end confess to each other in love. Their love is very much like the love of Jack and Rose from Titanic. There is also some kind of detachment of Hal (well, Gal, but because of her accent, she called herself Haley). Well, plus Vladislav, who sleeps with the wife of the main character. A kind of negative character. There is also a fat man, but this is a separate story.
In general, this part has quite a few disadvantages. First of all, I didn't like the moment his daughter wanted to eat. You can think of it as nitpicking, but I just didn't get it. Usually after this, people are in a state of shock and inadvertently they will have a feeling of hunger.
And here's another point.
After all the crashes and stress and all that, in the scene where they're walking on the subway, they suddenly start laughing at the fat guy's jokes. No, are you serious? Do you want to laugh after that?
Oh, right, fat guy. It's a separate conversation, namely how he died. Oh my God, it was so epic (!) that I even applauded standing up.
Here he is, our hero, instead of hiding in that hole, he decides to run on the water, with a big belly from that car. And at some point he realizes that running is useless and he decides to take the blow on himself. If he had shouted “Run, I’ll hold him” it would have been perfect. It is worthy of 10 Oscars.
Despite all the film's contradictions, funny deaths and linear drama, it doesn't look so bad after all. If we compare this film with the same “2012”, then our film is a plus.
6 out of 10
Everything looks pretty good for the first time. I would say very well. It's really worth noting, if only because it's the first Russian disaster film. And he was able to beat the budget, which is also very good.
7 out of 10
So, if you heard about the movie “Metro” from friends, saw an advertisement or it just happened to catch your eye and you think whether to watch it, here are a couple of my personal impressions about it:
1. Plot. Well, let's say not bad for a Russian film - an accident in the subway, blood, masses of people, a stampede, general panic - unfortunately, but the topic is very relevant for our country, or rather for its capital.
2. Actors. Again, for a domestic film, everything is quite acceptable, not much overplay, not much underplay, a good average, in many moments you even begin to empathize and do not notice the shortcomings of the game.
3. Directorial and camera work. That's where the questions come in. Still, the Russian camera school is not yet up to the level of foreign: some crumpled transitions from one scene to another, there is no smoothness and integrity, because of this, the film does not look in one breath.
Over. Modern Russian cinema has made a very good breakthrough in films for the mass audience, at least this film is qualitatively different from all Russian vulgar non-comedies, but still can not approach the level of good American action-s.
I recommend watching at least in order to say at the end of the film: “Well, we can shoot something worthwhile when we want.”
7.5 out of 10
Catastrophe films are not “our” genre in the first place, for the simple reason that this is our social state. If in America it is just a genre of mass cinema, then we have a product that inspires genuine horror. And the point is not at all as a film as such (although this is also there), but that after this you inevitably begin to fear reality even more. Especially when the movie shows that no one will care about you in the event of something, ranging from government agencies and ending with the passengers who sat with you in the subway car, who at best just walk over you in search of their loved ones, and at worst wrapped in a mount on the head.
The Metro movie isn’t just bad, it’s shocking. I am in a state of horror when I see people dying in large numbers in the depths of the subway, when they could still be saved in principle. How many could be just wounded and lost consciousness under the rubble like the daughter of the protagonist, only God knows. And the order of the Moscow authorities to immediately fill the tunnel with nitrogen is the highest moral feat. What I like most is that even a surgeon walks around in human heaps and doesn’t care about what’s going on, perhaps on living people. I wonder if a man had walked over his daughter the same way, would he be pleased? Even Dr. House will be more merciful than the district surgeon.
I am not talking about the fact that I, as a spectator, do not want to empathize with the main characters, that I do not feel sorry for anyone, that the main love triangle and its outcome are not worth a fucked-up egg. I am concerned about the question, why in all domestic films the lover is necessarily bad, and the husband is good? Is this a policy aimed at strengthening the Russian family? You might think there are only black and white in life. Yeah, and a fight is particularly appropriate. It's a fine story.
I can be infinitely amazed at the director’s stupidity in the copycat scenes of Cameron’s Titanic. Most curiously, homegrown Jack Dawsen, like Russian screenwriters, apparently does not know that the inhaler after getting into the water, will no longer work. I think it's time for Cameron to take the money. Just a new gold mine in the form of a new Russian cinema.
Moving on to thoughts about what could decorate THIS, I can say that the main mistake in the film is the complete absence of a hero in the presence of a pronounced antihero (not one!). The only thing that could decorate this film is the presence of caring people among both rescued and rescuers. But for that I should probably turn to "bad" American cinema. In the meantime, welcome to the jungle.
It is difficult to say something in general about this film, so it is better to walk separately on the pros and cons of this picture.
Pros:
1. The film creates an amazing atmosphere. The scenery, special effects, actors - everything looks impressive and realistic.
2. The camera work is beautiful. Operators really take what you need from the right angles, which again enhances the atmosphere of a kind of subway post-apocalypse.
3. The film is developing interestingly. He rarely dwells on either the main characters or the extras, that is, we are shown exactly those characters that are needed at the moment. Timed: there will be no question “What happened to #?”
Cons:
1. Edit. I said that the cameraman was filming it properly, but the editor seemed to be afraid that he would be fired. As a result, the angles gallop so that in the cinema I would probably experience a bout of nausea. A vivid example is one of the very first scenes where a builder talks to a mistress: we are shown 2 seconds, he takes her by the hand (sharp close-up for the same 2 seconds) - and again show them both.
2. Characters don't shine with intelligence. I could blame panic on their stupid actions, but, for example, the fact that they can not unscrew the nut that we show close-up (like this is the problem, this is why the grille does not open), and instead they punch it with iron, or just pull the grille, even with panic, should make you think about how smart these people are.
Here I will write a few words about one of the main characters - the mother. It's just indescribable. We are trying to make her empathize with the fact that her husband and children were in that subway, but this character causes a negative attitude towards himself already at the beginning of the film, as she:
(a) She has a lover, although she has a daughter.
(b) She went to this lover, leaving her daughter at home one, which, according to her lover, happened not for the first time .
You look like a model mother. And all these attempts to show that she has corrected, that she does care about her husband and daughter, do not give absolutely no effect, since I can not forget about those two arguments described above.
3. The creators seem undecided what they are trying to create – a thriller or an action adventure. The words “catastrophe film” describe only the nature of the narrative and already formally denotes for the audience what will happen on the screen. Let me explain: in the film everything goes to spite the main characters, as in Destination, everything is the opposite – for them, as in a typical action adventure, where only the so-called “red shirts” die. The film often finds itself in a situation where it cannot decide whether it wants to kill a particular main character or not. It’s as if the script was written by a person suffering from a split personality: We’re going to kill everyone!! No, they miraculously survive here! And then immediately they are in mortal danger!! From which they also miraculously get out! Get out of my head! No, get out of my head!
Verdict: The film is not bad, but like many, I can’t call it a breakthrough. It’s certainly better than most Russian films, but it’s still a long way from a masterpiece. By itself, the genre of “film disaster” is perceived ... repulsive, because the entire plot of any disaster film can easily fit into some horror or adventure plot. As a rule, they do: there are, for example, such adventure films, where the antagonist does some GREAT EVIL and the apocalypse comes and, as a result, the protagonists are faced with the task of returning everything as it was, well, or at least surviving. This technique shows that the protagonists are also not all-powerful and they also have to lose (the same thing with horror), and in this case it is to take the same Big Evil and choose a couple of characters from the extras who will become the main ones and who you need to follow. But I got carried away.
When I am offered to watch something new from Russian cinema, I always desperately refuse and find any reason to refuse, because... well, you understand why you do not want to watch our films – that’s one disappointment. Grief, not movies. It is good that every rule has exceptions. The Metro by Anton Megerdichev is one of them. A rare exception. Believe me, this is a great movie.
The plot is based on events related to the disaster in the subway, when due to the weakened soil by numerous new buildings, water from the Moscow River blurred the walls of the old tunnel and formed the so-called swimmer. In the water trap were passengers of one of the trains.
In reality, there were no such events in Moscow. Something similar happened in St. Petersburg. St. Petersburg people remember well how in 1995 it was announced about the breakthrough in the night, non-working hours, the swimmer between the stations Lesnaya and Courage Square. For ten years, the residents of a huge residential area - Citizens, were cut off from the city, the communication was exclusively ground, but no one murmured, understood: everything could end much worse, the city was lucky, the inconvenience caused is the minimum price that he paid for technical shortcomings in the fight against the rampant elements.
Before the disaster. The first shots seemed suspiciously "Hollywood": a bed scene with a blonde, then a completely impossible and implausible episode for Russia in the hospital - behind a stretcher with a gasping patient brought in, a team of surgeons rushes to the operating room ... Have you ever seen this in reality? I'm not. However, in the next scene, everything falls into place - the Russian madhouse begins to rule: to illuminate the operating table at the right angle, the nurse jumps on the surgical lamp with a monkey. The difference between the two cultures. You know, that's humor. And, by the way, funny humor. It is not so much in the plot, it is more in the fabric of the narrative than in jokes, but compositionally it is where it is appropriate. Funny, not annoying. And the concerns were...
We need to take some action. - Yes. Here you go. And then you don't go on your shift - sober, that's everything and imagines.
The whole beginning of the picture, before the disaster, in style, the cinematic language resembles the Canadian film "The Destroyed City" (about the explosion in Halifax). The anxiety is gradually increasing. In the center of the dramatic events, as there is a family: a father, a mother (the blonde), their little daughter; and also a mother’s lover. Somewhat obsessively, the old dispatcher remembers that the water he found in the tunnel is not like that. Stamp? Yes, but in an unusual way - with a good-natured smile. Thanks to him, you begin to perceive events a little falsely, without dipping into them completely.
Disaster. The emotional climax of the film. Shot surprisingly powerful, without any discounts on the “Russian”. Special effects level. Massage – in general, one of the strongest directorial and camera achievements in Metro – is simply fascinating here. A whole train of people in the “rush hour”, close-up and mid-range, experiencing a short couple of minutes of emergency braking of a locomotive that accelerated to full speed, misunderstanding, growing into horror fear, which simply does not have time, everything happens so quickly, turn into panic, shock, pain and again misunderstanding.
A mountain of corpses. Those who survived began to recover. Probably, for the simplicity of the narrative, all those who survived were, albeit with injuries, but quite so walking. They went, despite the contact rail on and the water snorting under their feet, to the exit of the tunnel. Would they really? Yes, for sure, many people have never thought about where the current comes from in the subway trains. The most intelligent or delayed for other reasons remained and moved later in a small group. In this group, ironically, there was a little girl with her father and her mother’s lover. Most of the following events will be related to them.
The actors play soulfully, there are enough passions-faces between the characters, and sharp plot twists, so that a unique atmosphere is created that distinguishes Metro from Western disaster films. True, here are the repeated heroic search for anti-asthmatic spray I suspiciously reminded of the TV series "Lost", but it's nothing.
In general, there are flaws in the film, in some places cranberries fall on the head ... here with the same contact rail or an amazing moment when it turns out that the subway bunker is directly connected with the storm sewer. But, you won’t believe it, it all skips the edge of consciousness, without interfering with the perception of the film, because the real authenticity and cinematic – they are still different. Like in Shakhta, which you forgive a lot, because, well, it’s interesting to watch.
Should I watch? If you want to enjoy the movie a little bit, yes! Just don't tune in to "Metro" as too serious a movie.
7 out of 10
For the first half an hour, the film is constantly surprising, it is very scary to really watch all this, this chaos, looting, the desire of people to survive and escape at any cost. Very atmospheric beginnings of the film, great feeling. I, a grown man, cried almost non-stop from 10 minutes to 30, and when I stopped, my hands and my whole body shook. Even the silly jokes you hear at the beginning of the film don’t spoil the impression, because it’s panic, hysterics. I want to add that the movie is very difficult at the beginning, and not for everyone, many simply can not stand it.
What happened? How is that?
That's it. After such an amazing start, something terrible and unbearably boring begins. The disaster film quickly turns into a melodrama. It's getting unbearable. You feel like you're watching some cheap show. The plot twists are not that predictable, there is unpredictability, but all this turns out stupid and ridiculous. Therefore, the impression is created of an artificially drawn film, it would be possible to make the film shorter, but brighter.
It didn't grow together. .
If this film was a short film (yes, those very half an hour of disaster), I would consider it a masterpiece and put 10 out of 10, but not even the ending, but more than half of the film is simply terrible (4 out of 10).
But I want the scene in the subway to see as many people as possible, it is more than worthy, so the final assessment contrary to my words will be quite high.
7 out of 10
In one of the tunnels of the Moscow subway, a breakthrough occurs, because of which water from the Moscow River begins to flood the metro line. In a deadly trap is the train, the passengers of which will have to look for a way out on their own. In the center of events was Irina, which is fighting for the salvation of three close people – a young daughter, husband and lover, who were by chance in one part of the ill-fated train.
It should be noted that 2013 for Russian filmmakers was very productive in terms of dubious hits, and it began with the release of the disaster film Metro. Cinema, of course, can not be called a box office failure – all the same fees exceeded costs, and on digital media demand for it is good, but that this expensive “serial” should not be in doubt. Having learned how to “whip” box office comedies, again dubious artistic merits, Russian cinema began to swing at other genres.
Decent level of technical production of the opus Anton Megerdichev could give the final quite a good action film, if not for the stamps, mediocre acting of some actors and just ridiculous mise-en-scene, not amenable to sound logic. It is not known how this or that person will behave in such a situation, but given that this is a feature film, the authors should avoid the dialogue that is inherent in any series. As a result, the viewer is forced to watch how correctly constructed dynamic moments sink with the subway in a contrived love triangle and other stupid plot twists. Agree, somehow difficult to empathize with a lady who rushes around the city, while her husband and lover not only save their lives, but also try to find out the relationship against the background of a sufficient number of dead passengers. It would be fine, but the backbone of the plot is sharpened under several heroes who, united in a “mighty bunch”, are trying to find a way out, but even then there is a miss – the characters are drawn dotted, very stingy and should the authors again get carried away with clarifying the relationship between the two “male”, as everyone else completely forget. Against this background, it is insulting for Sergei Puskepalis and Anatoly Bely, who are not deprived of talent and are trying to squeeze the maximum out of their flat heroes, while the plain Svetlana Khodchenkova tries to imitate the drama and receives undeserved audience attention.
Stagnation and crises, Russian cinema has grown to the point that it can make a spectacular movie, but clearly has not learned to separate the grains of artistic from the chaff of serial paraphernalia.
On Sunday night I decided to watch a new movie. After watching a rather mediocre American comedy for 20 minutes, I decided to change it to the Russian acclaimed film Metro. What almost immediately regretted and barely looked to the end only on principle - well, not all so bad?
Unfortunately, it is bad, or rather as usual, when it comes to our cinema. Even despite the absence among the actors of the widely known, but at the same time very tired of the viewer of all sorts of Bezrukovs, Kutsenko, Basharovs, Liz Boyarskikhs, this film is still not much different in quality from the domestic "masterpieces" of recent years.
What is especially striking when viewing is the constant “overbending of sticks”. Here you and the usual negligence of the staff, in this case, the subway, but multiplied by 100%, and excessively unfriendly cops, and everywhere unimaginable traffic jams in Moscow before the accident, and the mandatory presence in several shots and episodes of persons “not Slavic appearance”, and implausibly grumbled passengers of the train, seeing the drivers walking outside the windows to the other end of the car ... It seems that the filmmakers hoped to bribe our viewer, to show that the film is really about Us, about OUR LIFE (but with this they overdid), instead of creating a really interesting movie, without a huge number of blunders and the need to resort to such a cheap method of winning an audience.
At the same time, the film has some Hollywood touches, which, if the picture was not another consumer, would be quite acceptable. This is the tragic death of a necessarily fat hero (at the same time, the director apparently understood that this clumsy and stubborn character will not cause us special sympathy, so he inserted a sentimental photo floating on water into the frame), and the mayor, very much reminiscent of the current Moscow one, and the mandatory presence of a love story and a fight at the end, and even a dog, which is designed to be a cute and funny distraction element from the general narrative, which does not pull on the film-tragedy. All these trifles, as well as the heroes (what is only one grief surgeon who silently steps over the piles of human bodies, without bothering to even check whether they are alive or not), during the life of which there was not a second of fear, all this causes nothing but restrained irritation.
But, oddly enough, the creators of their goal achieved: the film at least paid for itself, the audience went to it, the tape has a very good rating for the Russian film (which for me personally is strange and sad). But all this should not be misleading, because we again received another low-grade domestic work and the understanding that the process of recovery of our cinema has been delayed for an indefinite period.
P.S. I would rather watch the American comedy to the end, even if the mood would not spoil.
1 out of 10
I remember when I saw a small plot dedicated to the release of the film, it was positioned as a film, the purpose of which is to show the psychology of human behavior in extreme situations. “Isn’t there a lot of cinematic production in the world about people’s behavior in closed spaces?” If horror films, thrillers and other psychedelics with a claim to deep-thinking cinema are full of various claustrophobic plots, then what is the uniqueness of Megerdychev’s Metro? So I decided to find out.
As a result, I did not find any special psychologisms based on the results of viewing Megerdychev’s creation. Tragic in cinema for ten years, the effect of a suspended camera throws the psychological thriller down to the level of ordinary action. The most banal love triangle, woven from the passing images of Puskepalis, Hotchenkova and Bely, strong-willed, but not reflective Lesha Bardukov, in some ways not uninteresting heroines of Katya Spitz and Elena Panova, well, of course, the cute knacker Misha (who probably according to the script should be miserable when he dies), brightening up boring interpersonal lines.
But the main disappointment is the poor disclosure of the topic of the human factor of catastrophe. Vigilant bystander Sergeich notices the presence of water in the tunnel, but dispatchers are extremely careless about its warning. What if there was no negligence on their part? Why would the writers not include in the plot such a conspiratorial turn, according to which the disaster in the subway is not a consequence of the influence of a man-made or natural factor, but the result of a planned conspiracy of some secret order of dark diggers who arrange underground sabotage as acts of sacrifice to the evil Hades, and among which it would be easy to introduce quite murky metro employees in the person of the hero Makarevich Jr. and polite dispatcher? Then the mesmerizing lines "Silently, the souls on the roof slowly breathe before jumping..." from "Bi-2" perfectly laid on the film work. It would be more interesting!
For the magical rock sonata from “Bi-2” and Misha, perhaps I will translate the review from negative to neutral status.
Be careful in some places possible flooding or the next station unknown!
Russian movies. Many people treat them with distrust and skepticism. Such films have long earned themselves a not very attractive reputation. The incomprehensible plot, special effects and graphics do not impress so many people think and therefore do not seek to discover something new and watch this film. And I was no exception. The skepticism, the opinion of others, the comparison with other films did not inspire confidence and a positive opinion. But I was wrong.
The film deals with very important social issues. For some reason, we often do not trust what we are told, or vice versa, believe after the first words. Is it so hard to just check it out? We understand this only when something bad happens. We are left with a complete sense of helplessness, realizing that everything could have been different, but we can not change anything.
Naturally, getting into an emergency situation, everyone begins to panic. No one knows what to do or what to do. For everyone, this subway accident has become something of its own. For someone it is a concern for loved ones, help others, and for someone it is just a convenient situation to get money and not think about anything else. Yes, in such a situation, of course, everyone for himself, everyone does not care about others and even a mother with a small child, no one wanted to help. That’s the whole point of a human being – to save only his own skin. Coolness and reflection fade into the background, and it should be the opposite.
But this film surprises not only with the plot, but also with an interesting cast. I have seen some of these actors in other roles. This Alexei Bardukov (Denis), Katerina Spitz (Alice), Alexei Gavrilov, Stanislav Duzhnikov (Mikhail). I was very interested to see their acting her time. Also, the main characters of this picture were played by Sergei Puskepalis (Andrey Garin), Anatoly Bely (Vladislav Konstantinov), Svetlana Khodchenkova (Irina Garina), Anfisa Vistingausen (Xusha Garina) and Elena Panova (Galina). I thought it was good. Impressive performance of worthy and amazing actors.
In terms of special effects, graphics, and realism, I expected it to be much worse. Fortunately, my predictions did not come true. Everything was fascinating and believable. I saw a fascinating picture and I didn’t want to move away from the screen. On this film worked Director Anton Megerdichev and screenwriters Denis Kuryshev, Victoria Evseeva. In my opinion, a good team that worked well.
All my emotions from the film can be described in two words: I was hooked! This film is worthy of respect. In the film, there are many storylines, each of which tells about something of its own: friendship, sympathy, family, but they are all imperceptibly intertwined by chance. Everyone can get something from this movie. Someone special effects, someone can change their attitude to life, and I’m unforgettable impressions and emotions. And this film was proof to me that everything in our lives can happen by chance. It's certainly a bright movie.
Despite the fact that all domestic films have long been treated with a fair share of justified skepticism, the film “Metro” is worthy of attention.
The film is billed as a disaster movie, although I would have highlighted drama. And this same drama played out and revealed 100%. I have no claims to the cast except for Anfisa Wistingausen. All the emotions shown to the viewer are alive, familiar to everyone, which allows you to feel special feelings for absolutely every person who flashed on the screen. People here are not impersonal crowds, so often shown to us in films of this kind, but diverse and unique units, to their sorrow, bound together by a single fate. Those lucky ones who manage to escape, most of the viewers will unmistakably determine at the first appearance of them in the frame. Alas, but a certain pattern of the plot apparently could not be avoided. However, the film, although it develops according to the laws of the genre, will be able to give the viewer the so-called God-my-moments, when all you have to do is squeeze into the chair with surprise, empathy or other very strong and bright emotion.
These gifts are not limited. One of the most important advantages of Metro is that it is shot very high quality! Decorations, special effects, graphics, soundtracks - all this provides a sense of presence, complete immersion in the atmosphere of the disaster. The attention paid by the creators to small things paid off and breaks a stormy ovation.
Taking up not the simplest and in principle not particularly characteristic of Russian cinema, Anton Megerdichev was able to create a beautiful, full of real emotions, a plausible disaster.
10 out of 10
Show stupid people and other aspects of ordinary life
The title of the film reflects only a general plan, against the background of which several ordinary stories from people’s lives are told.
The plot of the first is a love triangle between former classmates. He is a talented surgeon working in an ordinary hospital. She is an unremarkable woman, a girl from a parallel course. They have a daughter, but the family falls apart because she has a lover. The third, his former classmate, is now a businessman in the field of construction. Everything here is stupid and banal, although most of the screen time is given to this story.
Two men and a daughter accidentally end up on the subway. Men get to know each other, but no drama or tension happens. They just sluggishly snap at each other from time to time as they make their way to the exit. The woman at this time is engaged in nonsense, calls everything, terribly stupid, falls into hysteria, again terribly stupid. In general, it takes all the negative viewers.
The second story is more interesting. She talks about the acquaintance of a guy with a girl. At first, he pretends to arrange excursions in the subway. Fortunately, the chance played into his hand (and the closed station was caught in time, and the oncoming train lit it). But then suddenly the accident spoiled the impression. And after the accident, it turns out that the girl suffers from asthma. And they would go, but without an inhaler. Therefore, they sit for a long time in the car and passively look for the girl’s bag, in which the ill-fated inhaler is located. After some time, the girl’s gaze falls on the bag and they eventually go to the exit. Along the way, the guy was pinned down by cars and, although he said “leave me, go, I’ll catch up later”, the girl did not give up and helped him get out. You could say you did. That's where they met. The girl's name was Alice: A little later, the guy will repay the debt and once again find an inhaler under water, which Alice constantly loses. I don't know how she died before. They meet with the characters from the first plot and then go together.
Plot three. Secondary characters. Some screen time is given to additional characters to explain what's going on or just dilute the action. Nothing can be said about them except what they were.
1. An alcoholic girl. Former athlete. I saved my phone once and spoke up. The rest of the time I was talking nonsense, stupid jokes.
2. Trainee driver. Introduced to explain some aspects of the film. It doesn’t play any role.
3. Rescuers and Minister of Metroelectrotrans. Showed brave, worthy and honest people. There is and can be no other way. Sorry for my inappropriate sarcasm.
All this is happening against the background of an accident in the subway. Allegedly, the Moscow River sinks tunnels. I have no complaints here, because I don't know anything about the subway. But I can say that the moment of the accident is the most interesting and tasteful.
In the end. Everything in the film could have happened in any other situation and nothing would have changed. Heroes are a lot of stupid and bad jokes. Paphos is small and poorly inserted. It's very long. Starting from the middle of the look is not interesting and in fact nothing.
5 out of 10
“Metro” is one of the most anticipated (Russian and in general) films of 2013. I waited for him and watched him - expectations were met!
It is not often in cinema that disaster films appear, even less so about closed spaces. Not often in Russian cinema there are films with excellent computer graphics, with competent acting and the absence of any template. But all the advantages of this film are unlikely to fit.
First, the special effects are at the Hollywood level, nothing more, nothing less. Years of hard work were not in vain. When you look at how the water floods the subway, how the subway trains are distorted, it seems like you are there, in the subway tunnel. Even the sounds of metal grinding, water movements and even echoes make everything on the screen even more realistic.
Second, acting. Such big names (Kutsenko, Bezrukov, etc.) do not appear in the film, which is good for him. All the characters played by Sergey Puskepalis, Anatoly Bely, Svetlana Khodchenkova and others do not have any template. They are ordinary people, from different backgrounds, with different beliefs and different problems. And when disaster strikes, these problems come up, and while in some cases you see a happy resolution, in others you feel uncertainty. This is the kind of hero that you want to experience. All the characters did not disappoint, even the second and third. The only exception is Anfisa Vistinghausen, who during the entire film did not shed a tear, did not squeak (maybe I exaggerate) – pay attention to the cast and decide for yourself what level she tried to play.
Third, the plot. He is banal for the genre of the disaster film - when the Moscow subway floods, a father-doctor with a daughter, a businessman sleeping with a doctor's wife, a young couple who have just met, as well as a typical alcoholic - they are all equal before the cataclysm and trying to survive. But for our cinema, this is a rather original script. And very organically, the personal drama of the heroes fits into the plot.
Fourth, locations. The film crew managed to recreate the tunnels of the Moscow metro with 100% accuracy, with all acoustic features and even “interiors” (wiring, lighting, etc.). The gap between two (unfortunately fictional) stations, the absence of “postcard” locations, and even car-clogged streets and driveways (God knows where) is unusual in general for disaster films, but this is also a sign of originality.
All the advantages of the film “Metro” can not be counted. However, this was enough to inspire pride in the national cinema. The most magnificent disaster film, worthy to stand on the same shelf with the Soviet “Crew” of Mitta and generally take a place in the hall of fame of Russian cinema. Those who love disaster films, those who watched the Crew, those who still hope that the domestic cinema can still be saved, or just movie fans – no matter who exactly, this film will please and will not disappoint absolutely anyone. Thanks to Anton Megerdichev, the crew and all the actors who tried to at least stir up our cinema, and that this attempt was successful. One of the best films in Russia is inexplicable, but it is a fact!
10 out of 10
Judging by such pictures, Russian cinema will not soon be revived.
Metro... For residents of megacities, traveling on this type of transport is quite common. For many, it is even a place of work and for some, what a sin to hide, a place of life. In my life, unfortunately, I was deprived of riding on trains under the ground (my town is a small town, there is no need for a subway), but now we are talking about the Russian disaster film Metro. To my great displeasure that this film is a real disaster, I realized too late.
In general, the idea is quite interesting and intriguing. The flooding of the subway, the possibility that half of Moscow will also go under water is extraordinary (in any case, I was bribed by this, because films with various variations of the ends of the world are quite tired). The trailer also immediately prepared the viewer for the fact that there will be good special effects, and the list of actors that the film will be played if not at the Oscars, then at the proper level for sure.
Let me tell you right away: I love disaster movies. Another thing to shoot a good film is to plow everyone (as well as in other genres) - a non-standard plot; colorful characters for whom you want to worry; visual effects; music ... There is no unnecessary aspect. With Metro, the director got only into the plot and effects. However, due to too negligent presentation of the first, the picture remains only one shaky plus.
It was physically painful to watch an alcoholic grandfather whom no one would listen to. I will never believe that the subway takes their work so seriously. Even if you say, "Well, this is Russia." "I don't believe it," according to Stanislavsky. It's the subway, it's complicated. I have always felt that there are specialists. What one does not notice, the other will notice.
The movie is basically about nothing. Heroes are as boring as school lessons in May. This is probably the first time I wanted everyone to die, because after such nonsense that the director showed us, this would be, in my opinion, the only sure way out (in order not to drive the viewer into complete despair, but here we will be disappointed). Andrew is a spineless man (I can’t call him a man), his wife (I don’t remember his name anymore) is a Messalina (I’m sorry), who doesn’t know what to do. All her problems would have been solved if she had spoken frankly to her husband, however, this is below her... hmm, “dignity.” Daughter, um, that she was there, that she wasn't there, she had little influence on the situation. Only the student couple Da Misha were pleased. I felt sorry for the last one. But just him.
Dialogue is primitive. It is clear that in such a situation, you can not talk much, but the film set the bar for itself, among other things, “the deep love tragedy of the main character”, and, since the whole film he passed with one facial expression (except that scene of his daughter’s jealousy for her lover), it had to be revealed through conversations. However, everything was fresh, you can not worry.
The tape leaves more questions than answers. And that's not a compliment. I was surprised after almost every scene.
It is quite difficult to judge the special effects, since there were not many of them, and when they did slip - you could see naked computer graphics (even our beloved Bollywood has not sinned for a long time).
I highly recommend not watching the film. It is understandable why such a high rating (after the fact that now it is often removed it is not surprising). If you have seen at least one series of Russian production at least on the same NTV and you did not like, then close the tab / turn off the TV - in Metro everything is the same, only in full-length format.
One plus for Misha, the second for Bi-2.
2 out of 10
P.S. I never understood why almost all Russian films screenwriters cram a frail love line, but the most incomprehensible lies in how this "dohlik" (love line) covers absolutely everything that is in the tape.
It turns out that Russian cinema deserves to be called such. Apart from Vyrypaevsky paintings, little comes to mind as “showy and not shameful, Russian as they say.” And here's the Metro. The film 2012, perfectly staged as a tragedy, but with many shortcomings. As if in these shortcomings shows both ingenuity and stupidity of a person. For example, why, when you have the only chance of salvation - a call from a mobile phone, you need to call a stupid blonde? (by the way, this role is either poorly played, or the selection of the actress is not successful). And moreover, after the committed, to leave the place where they should be taken. As if when they had already made this call, they already knew that Irina would not understand or tell me where to go. Of course, it's easy to judge people who are in trouble, but somehow I'm sure I wouldn't do that if I were them. And yet, if you have asthma, you should not let the can out of your hands, put it in your pants, in your bra, hang it around your neck, and not accidentally drop it where you should not.
I've got too much of a negative. So I liked the film, I am even somehow proud that they were able to shoot it in Russian, tragically, clearly and with a good ending. It is difficult, probably, for residents of large cities to go after watching every day in the subway, but after all, no one is immune from an emergency, but how to act in such situations the film makes you think. I think the main feature of the film is relevance and realism.
The creators of the new domestic tape “Metro” for once did everything right! The budget of the picture is not large, which can be seen immediately, but this is what gives the picture realism. The film is made perfectly: an idea, an exciting script, atmosphere, special effects. A very topical problem made the film in its own original and exciting. Not a good intriguing film, everything is quite tough, without blood and intestines, but not all survived there. The cast and their play were very pleased, but no more than the work of the director and cameraman.
Cons: Svetlana Khodchenkova at the end of the film is absolutely not convincing to play the horror of a woman who realized that her daughter, husband and lover may be forever buried in the subway tunnel. And the reaction to the reverse situation in general was incomprehensible: whether the shock is so strong, whether the directors did not know how to portray the joy of finding the only and most expensive in life – a native child!
The scene of the disaster is the most exciting thing that was in this film: a large porridge of people took the breath and forced to imagine themselves in their place. Panic of people and independent attempts to escape - an example of stupidity and herd instinct, which does not always lead to a positive result. But given that the film touches on two storylines, then the most important for a disaster film theme almost disappears. The main attention is paid to the underground odyssey by the miracle of the surviving group of passengers, and the coordinated actions of professionals are replaced by meaningless and absolutely unnecessary for the plot meetings of high officials. The logic of filmmakers is clear: they want to say that when trouble comes, you need to act on your own, without waiting for rescuers who may be late. This is absolutely true, but in my opinion, this is a completely different story.
Given all the above, this film is one of the most interesting recently shot by domestic cinema. That's a pretty good answer for American movies, given a budget of just $9 million. I recommend it to everyone.
After watching the movie “Metro”, I can even say that sometimes our people are able to shoot high-quality and interesting films. I watched the picture without stopping, worrying about the heroes, shouting at them, and even rumouring at some moments. It's very realistic. It was scary, part of the movie even with its mouth open. Even a pity that this film was not shown in our theaters, I would go.
There were many small moments that caught on, but they were the ones that made up the whole picture.
Misha talking about the certificate, what the hell is the certificate? They'd get out alive. A man speaking in the frame, to the question of a journalist, what is happening there now: messy. A terrible feeling inside was when the train stopped, and people began to recover, car thieves intensified and began to remove from the corpses, and maybe even still alive people, watches, jewelry, bags, purses, mobile phones. And nobody could do anything about it.
The clock was constantly showing how long it had been since a metro worker noticed the water in the tunnel. And all this is to blame for our Russian negligence, plus unprofessionalism. So many people died when it was possible to go into this damn tunnel before the metro opened, see what the reason was and close everything in time - nothing would have happened, no one would have died. No, we need to bring everything to a boiling point.
I was worried about the characters, the psychology of the film is well verified. Both shock and post-shock. An interesting company gathered in one place, but sympathized with each of the heroes. Not everyone survived. But everyone fought for life as best they could and helped each other, which is also important. No one wants to be in this situation.
More characters. They're all from real life. Everyone can meet on the street, with whom we can be personally acquainted. Everyone has a story. But there was no such feeling that this is not something real, or the notorious “I do not believe”.
How about a love triangle? By coincidence, the wife’s husband and her lover were in the same boat. And even in such a situation, they did not miss an opportunity to smash each other's faces. Russian people, whatever you say.
The music of the movie is good. But you don't pay much attention to it, but at the same time, it complements the whole picture. At the end of the song plays favorite "B-2".
The only drawback of the film, sorry, I can not write about it, or rather about it. That's why I didn't put a ten. That actress didn't touch me. I emphasize, not touched, but quite convinced. Hodchenkova played well, but maybe when I read the novel, I will have a completely different idea of heroin. But that's the question of casting.
"A magnificent kingdom, striking in scope,
For a penny invites everyone.
Somewhere in a hurry and just walking,
Sleeping in the morning and in the evening.
Every day, millions of people from all over Moscow descend into this gloomy kingdom. With the ease of their hands, they take out a ticket from their pocket, bring it to the turnstile and find themselves at the mercy of the subway. Everyone is in a hurry for their own business: work, study, home, walks. Everyone has their own thoughts, worries and problems. For example, our hero, Andrey Garin, sees off his daughter, Ksyusha Garina, to school. Vlad Konstantinov goes on business, and Denis in this ring madness tries to get acquainted with pretty Alice. They do not realize that they all have one thing in common: an inevitable tragedy.
In such films about disasters, most often someone already knows about the future tragedy, someone necessarily knows what others do not know. In our case, Sergeich, who knew everything by chance, but no one believed him. Immediately recalls the film “The Sign”, when the main character knew what was waiting for humanity, but few believed him. I think this is a classic of the genre of such films. Perhaps the creators of such genres do it deliberately, so that when there is a catastrophe (God forbid, of course), and someone will hint that something is wrong, maybe, at least then people will believe this person. Then there would be a chance to avoid tragedy. For example, now I will definitely listen to everyone in such situations.
During disasters and any human tragedies, people perfectly show their character and give free rein to reveal their qualities. So the director of this film, Anton Megerdichev, successfully selected actors who managed to convey many human qualities: wisdom, stupidity, courage, fear, despair, love, pain, courage and many others.
So, I would like to admire our Russian cinema again and wish it only to improve!
10 out of 10
After my mother offered to watch the subway movie, I thought: ' God forbid Russian film' And with horror I realized that still another Russian dull attempt to make a good film. I watched without interest how the action in the film developed, until Andrei and Ksyusha entered the subway. Here I dragged myself into the film, closing the page Vkontakte, leaving communication with friends. With my mouth open, eyes full of tears, I watched the movie until the end.
Playing actors, not all of them, but still, very, very good. And I disagree with some of the unsubscribed users here. Anfisa Wiestenhausen, playing perfectly, for her years. Katerina Spitz, who perfectly played Alice, in her, at the time of filming the position, just fine and excitement, and the moment when Denis was pinned by the car, it was difficult for her, but she coped. Ivan Makarevich, the role is small, but played better than a major role in '. Heir'.
There may have been mistakes and mistakes, but gentlemen, a beginning has been made. Nowadays, Russian cinema is not good. But Zakharov, or Jan Fried, here is a good movie, but Anton Megerdichev, I already boldly raise the bar higher than other Russian directors.
A lot of people don’t know the details of the movie:
First, other names of stations were used in order not to cause trouble to the Moscow metro (about that is written in Wikipedia).
Secondly, if there were tunnel-watchers in a movie, crowds, what would make a movie out of? This technique is called a tie, and without it, hardly anything happened.
The downsides of the film, of course, there are, but what movie, without minuses?!
Some of them I will say:
1) Help people running out of the water. I know the psychology of people, no one will extend a hand to a person next to him, when death, as they say, breathes in the back.
2) And how did Xyusha get under the seat?
In general, the film is wonderful, and now there is really hope for the revival of Russian cinema.
No matter what, I'm going to say:
10 out of 10
P.S. Now I’m afraid to ride the subway, but the music from the movie is turned on while in the subway!
Finally, a quality film produced by the Russian Federation!!
As it was announced about the release of a new film, Russian production, titled 'Metro' there was no desire to watch it! There are many reasons for this: the first is the inability to make good films, the second is -' ugly' the use of computer graphics!
It has been half a year since the release of the premiere of the project ' Metro' and from nothing to do decided to see this picture! In a word, I was very happy with this movie! The crew was really surprised! I did not expect this from Russian cinema. Playing the actors just satisfies to madness. Happy casting! These are all different, but together it created such a picture as 'Metro'.
Anfisa Wistingausen, showed as a professional actress! I am amazed at the persistence of this girl! The hypostasis of Alexei Bardukov was unexpected, but at the same time familiar. It was a pleasure to watch him play, although he, like the rest of the characters in the film, lost their roles as their own lives. Just amazed by the amazing play of Katerina Spitz, who played Alice. So good with playing a girl with an illness, but short wants to live-worth a separate award! And Galochka, as Elena Panova, is just a separate story! An example of desire, and even the irony of this heroine does not spoil the whole picture! It was a pleasure to watch Elena’s unusual play. This picture even changed the life of journalist Nazimov, in the person of Kirill Pletnev. To score on important material and help save the life of an entire family is worth a lot! Another surprise for me is Ivan Makarevich. Machinist assistant and Digger in one face! Delighted!
Special effects, just on top. And the sound of 'Bi-2' at the end of the picture! 'Prayer' like a highlight on the top of the cake!
Overall, the picture is positive! All in moderation: destruction, passion, struggle, humor and irony! A good cocktail! I congratulate the creators on adding a wonderful film to the piggy bank of Russian cinema!
For unexpected emotions and a pleasant picture - the highest ball!
10 out of 10