Lived bubble, straw and Lapot.
They went into the forest to chop wood. They reached the river and do not know how to cross the river.
Bast says the bubble:
-Bubble, come on you will float!
-No, bast! Better to let the straw will peremenitsya from shore to shore, I’ll move on.
The straw was permaneci from shore to shore. Bast took the straw, and she snapped. Bast fell into the water. And bubble laughed, laughed, and burst.
This film was created in order to be loved. And the hype artificially created around it, should trigger a wave of adoration epic proportions. Although I am more than sure that 80 percent of those who went to cinema halls on “the best science fiction film of modern times” (wait, like recently the label has stuck to the “Arrival”, and before that he flaunted on “Interstellar”, you’ll have to determine who to love) learned about “the edge” just from the announcement in the tape on Youtube, well, some maybe even original revised yesterday. And sort of ashamed to admit that the film is sometimes no, and therefore can only silently follow the General flow of the Internet hysteria.
Villeneuve riveted my attention after meeting with “Captive”, so I was wondering “Arrival” and after that the totally uninteresting news that he took the helm of a project such as “blade Runner 2049”. And here’s why. Denis Villeneuve shoots beautifully, lyrically sustained. Muted colors, yet juicy picture, static shots, oppressive atmosphere, very sparse musical content all this makes the same “Captives,” an incredible film. But the problem is that this approach absolutely does not work on large scale paintings, those where “space ships travel through the Large theater.” The main snag “Running” from Villeneuve that the film has a lot of visual, a beautiful picture, but absolutely not enough action and what is, is not interested and does not have any serious involvement of the viewer in the process of belonging. Hero Gosling’s real-like rubber doll that does something for already more than two hours, but what he seems, and he did not know. Of course, the original tape Scott did not differ special zeal in terms of plot development, but there just were all in their places, and the characters had what the characters of this painting his own “I”.
The film is technically flawless with one exception music. Johanna Johansson removed from the production process, putting at the helm, right, of Zimmer, who carefully hammer on the ears of the audience, occasionally shaking them, firing as scheduled low guttural sounds of synthesizers to the public frankly didn’t fall asleep while that is happening on the screen. In fact, the technical side of the picture is her biggest plus. The rest, alas, Villeneuve said, “the Arrival”, giving a significant silence for a philosophical message, which in reality is merely a smokescreen designed to cover up the emptiness of what is happening on the screen.
This movie is simply doomed to success.
3 out of 10