French submariners and their “cranberry call”
Cinema. I received a long-time motion picture with the brutal title “Call of the Wolf”, but in spite of the fact that I am a big fan of military pictures (especially pictures of the Navy), there was not enough time to look. By watching me, you, the readers, one of you warned that the film is a selective western "cranberries". However, I note that the "cranberries" in this picture are of a slightly different sort. Neither you are drunken sailors, nor you are an insane zampolit, even Stalin and his chek horde who drank the blood of babies. How so? You can even get bored. But it is at a glance. “Cranberry” in this film is as aromatic and juicy as Schwarzenegger's immortal phrase: “Cocainem”.
To begin with, it is worth mentioning that former adviser to the French Foreign Minister Antonin Baudry is hiding under the name of director Abel Lanzac. That same Foreign Ministry, which harbored the most tender intimate feelings for “White Helmets”, literally did not leave the bed of the notorious Skripale, was desperately searching for chemical weapons in Iraq in volumes somewhat exceeding the tube for the perfume sampler, and, of course, selflessly and disinterestedly defamed Gaddafi’s reputation, until the last one was killed by a mob of cave Neanderthals in mortal combat.
Strictly speaking, Antonin, i.e. Abel, just changed the tools on the desktop, continuing to do about the same thing. In his interviews, Beaudry feels great on two chairs. Then he winks conspiratorially at journalists and "film critics", allegedly a lot is hidden from the masses, and the public takes a visor in front of a former diplomatic bureaucrat. That begins to rant about how the "inner world of the heroes" showed. That's right, that's why the whole western party found the film of this multi-juggler to be quite plausible.
In the very first frame, the director displays the epigraph on the background of the smooth ocean: “People are divided into three types. Living, dead and those who are at sea. " This phrase of the Scythian philosopher Anacharsis is only a cheap method, which is used in order to increase the weight of the thinness of a typical passing action. And, if Oliver Stone in his amazing drama “Platoon” put an epigraph of a quote from Ecclesiastes, which was fully revealed at the end of the picture, then Beaudry uses philosophy as an advertising poster for an action movie. Already at this stage, you need to run out of the cinema, burn a ticket and curse the director, who so artfully uses the art means.
The next episode is just some thrash dung smears philosophical attempts of the epigraph. A typical plot of the same typical action movie: a hostile coast, valiant French special forces, working out models for cologne advertisements on weekends, thick and angry Syrian physiognomies and valiant submariners of France from the same advertisement, starting with acoustics.
Confrontation with the Iranian "frigate" - a separate song. The role of the frigate "plays" American LCS class "Independence". The Iranian ship "farted" into the sky with a helicopter, its only weapon that was shown to us, and more did not appear on the screen. Severe helicopter detects the submarine, so no less severe captain decides to shoot him down ... from the RPG. The order is executed by a regular grenade launcher of the submarine (burst my eyes), i.e. captain himself! The helicopter falls, the French cheer, the viewer hopes that it was a short film ...
Alas, the brave French are returning home. And here the picture begins to slowly lose what could go at least as a fighter. Baudry, finally entangled in his directorial ambitions, then squeezes out a curve of political intrigue, then flatly and ridiculously builds "vitality" with a romantic line.
The political stance is that Russia has occupied part of Finland. The EU is in shock, France is beating its chest, and the US is silent, because continues to search for Finnish lands on the map. So why did Russia attack Finland at all? Probably for the same reason that our paratroopers occupied some kind of American hole in the classic “cranberry” of 1984 year “Red dawn”. That is, just attacked, and that's it. Without any explanation, the creators simply cement the hysterical propaganda stereotype, according to which our “Mordor” is so “bloody” that it does not require any economic or military-political reasons for the occupation.
But in order to give a frightening significance to his hallucinations, Beaudry wanders through the night streets of a quiet French town of minions, apparently lent to him by the Salisbury police. How does this raincoat with a gas mask save the minions and the French inhabitants, if the "bloody Mordor" threatens with a nuclear club? The director, in general, to whip up hysteria, without knowing other artistic techniques, will over time at the mention of the word “nuclear” sculpt into a frame peasants in the OZK costume. And they will not do anything, just stand and shake the filter box.
And the romantic line with the straining vitality is not at all glued to the rest of the plot. There is no “bridge” between this world and the world of service — no photograph of relatives, no favorite book, no collection of songs, no letters, nothing. Thus, in the middle of the timing appears blackening hole.
Further more. The submarines go to sea, the acoustics, like an abandoned young lady, smears snot on the pier, and the “Russians” launch a ballistic missile through the territory of France ... from the waters of the Bering Sea. Well, to fly a little longer, across the continent. True, by this minute the viewer already stops asking questions.
Acoustic, collecting snot into a fist, penetrates the secret bunker command. And there has already been given an order to launch a nuclear strike on Russia. And then the talented acoustics, although his entire film is being chased as a schoolboy, finds out that the secret ultramodern submarine (reader, brigade) launched by a retired Russian admiral to the Wahhabis launched the rocket. Apparently, she worked on his garden plot with a greenhouse, heating cucumbers with a nuclear reactor.
And here the authors begin to desperately tighten the nuts of the plot. That is why, when the thread breaks, the captains float between submarines at a torpedo speed in a scuba-diving suit (diving suit) at ach depths, the acoustics leave the post to screw in a portion of tears and snot in the torpedo compartment, officers periodically send orders to the forest and so on and so forth .
At the exit, we have an undercooked hodgepodge of American-made cranberry paintings that have already set the edge on the teeth. Here are the echoes of the Red Dawn, and the remarkable cut of The Hunt for Red October, and the intrigue itself is tracing from the deservedly forgotten cranberry sauce called The Price of Fear. As a result, the external purely illusory capacity of the plot rests solely on the former profession of multi-channel director Beaudry.
However, this is not the end of the film’s flaws. In the end, even the “cranberry” can be presented elegantly, trying to hide the lack of talent behind the sweet packaging of special effects, camera work, charismatic acting, the work of artists and composers. But this is not.
Actor's work is more than mediocre. From the heroic acoustics they try to blind a certain militarized clone from the hero of the picture of Luc Besson “The Blue Abyss”, but since the script did not even try to reveal the character, the viewer watches a feminine emotional infantile teenager on the screen.
More obscure looks hero of a black star of French cinema Omar Sy. Omar with sheep’s stubbornness continues to embody on the screen the image of a good black guy, from that cohort of glorious guys with a dozen of correct advice, a friendly bottle of beer and simple everyday wisdom. Before us is just a “pal” in the form of a naval officer. With the same success, he could play a Negro on a plantation, a social worker in a Parisian suburban ghetto, or a merchant in shaurma — no difference.
The artists, who always had a part of responsibility for the atmospheric character of the film, could not show themselves either. Let's be honest, fans love pictures of submariners for the atmosphere, the involuntary taste of metal on their lips, the dull moans of bulkheads, the feeling of the infinitely frightening and inviting abyss outside the hull, the moans of the ocean, the feeling of loneliness and fraternity at the same time. There is nothing of this in the picture. Her world is plastic-digital, emasculated, and therefore empty and uninteresting. Also, the depths of the ocean of this film are empty and lifeless, they do not hide any mystery, they just are - tasteless and soulless.
Do not inspire and special effects. Not only do they look frankly cheap before cutting in the eyes, they are also extremely inorganically shoved into the film. No soundtrack, it's not good, not bad, it just is. Moreover, the author would highly recommend some compositions from the picture for a lounge cafe with the same effect.
The only value that the picture possesses is a good visualization of that enchanting social and psychological climate that has been forged by independent media in the West all these years. Only after such a shock agitation work can one finally be able to lower the agitators themselves to the level of an illiterate man in the street, because only such a man in the street could have taken such a picture.
Frame from the picture
To begin with, it is worth mentioning that former adviser to the French Foreign Minister Antonin Baudry is hiding under the name of director Abel Lanzac. That same Foreign Ministry, which harbored the most tender intimate feelings for “White Helmets”, literally did not leave the bed of the notorious Skripale, was desperately searching for chemical weapons in Iraq in volumes somewhat exceeding the tube for the perfume sampler, and, of course, selflessly and disinterestedly defamed Gaddafi’s reputation, until the last one was killed by a mob of cave Neanderthals in mortal combat.
Strictly speaking, Antonin, i.e. Abel, just changed the tools on the desktop, continuing to do about the same thing. In his interviews, Beaudry feels great on two chairs. Then he winks conspiratorially at journalists and "film critics", allegedly a lot is hidden from the masses, and the public takes a visor in front of a former diplomatic bureaucrat. That begins to rant about how the "inner world of the heroes" showed. That's right, that's why the whole western party found the film of this multi-juggler to be quite plausible.
Antonin Beaudry
"Russian threat" - our everything
In the very first frame, the director displays the epigraph on the background of the smooth ocean: “People are divided into three types. Living, dead and those who are at sea. " This phrase of the Scythian philosopher Anacharsis is only a cheap method, which is used in order to increase the weight of the thinness of a typical passing action. And, if Oliver Stone in his amazing drama “Platoon” put an epigraph of a quote from Ecclesiastes, which was fully revealed at the end of the picture, then Beaudry uses philosophy as an advertising poster for an action movie. Already at this stage, you need to run out of the cinema, burn a ticket and curse the director, who so artfully uses the art means.
The next episode is just some thrash dung smears philosophical attempts of the epigraph. A typical plot of the same typical action movie: a hostile coast, valiant French special forces, working out models for cologne advertisements on weekends, thick and angry Syrian physiognomies and valiant submariners of France from the same advertisement, starting with acoustics.
Copy and unique "Iranian" original
Confrontation with the Iranian "frigate" - a separate song. The role of the frigate "plays" American LCS class "Independence". The Iranian ship "farted" into the sky with a helicopter, its only weapon that was shown to us, and more did not appear on the screen. Severe helicopter detects the submarine, so no less severe captain decides to shoot him down ... from the RPG. The order is executed by a regular grenade launcher of the submarine (burst my eyes), i.e. captain himself! The helicopter falls, the French cheer, the viewer hopes that it was a short film ...
Alas, the brave French are returning home. And here the picture begins to slowly lose what could go at least as a fighter. Baudry, finally entangled in his directorial ambitions, then squeezes out a curve of political intrigue, then flatly and ridiculously builds "vitality" with a romantic line.
Tremble Finns!
The political stance is that Russia has occupied part of Finland. The EU is in shock, France is beating its chest, and the US is silent, because continues to search for Finnish lands on the map. So why did Russia attack Finland at all? Probably for the same reason that our paratroopers occupied some kind of American hole in the classic “cranberry” of 1984 year “Red dawn”. That is, just attacked, and that's it. Without any explanation, the creators simply cement the hysterical propaganda stereotype, according to which our “Mordor” is so “bloody” that it does not require any economic or military-political reasons for the occupation.
But in order to give a frightening significance to his hallucinations, Beaudry wanders through the night streets of a quiet French town of minions, apparently lent to him by the Salisbury police. How does this raincoat with a gas mask save the minions and the French inhabitants, if the "bloody Mordor" threatens with a nuclear club? The director, in general, to whip up hysteria, without knowing other artistic techniques, will over time at the mention of the word “nuclear” sculpt into a frame peasants in the OZK costume. And they will not do anything, just stand and shake the filter box.
Where is this damn spire?
And the romantic line with the straining vitality is not at all glued to the rest of the plot. There is no “bridge” between this world and the world of service — no photograph of relatives, no favorite book, no collection of songs, no letters, nothing. Thus, in the middle of the timing appears blackening hole.
Further more. The submarines go to sea, the acoustics, like an abandoned young lady, smears snot on the pier, and the “Russians” launch a ballistic missile through the territory of France ... from the waters of the Bering Sea. Well, to fly a little longer, across the continent. True, by this minute the viewer already stops asking questions.
Acoustic, collecting snot into a fist, penetrates the secret bunker command. And there has already been given an order to launch a nuclear strike on Russia. And then the talented acoustics, although his entire film is being chased as a schoolboy, finds out that the secret ultramodern submarine (reader, brigade) launched by a retired Russian admiral to the Wahhabis launched the rocket. Apparently, she worked on his garden plot with a greenhouse, heating cucumbers with a nuclear reactor.
And here the authors begin to desperately tighten the nuts of the plot. That is why, when the thread breaks, the captains float between submarines at a torpedo speed in a scuba-diving suit (diving suit) at ach depths, the acoustics leave the post to screw in a portion of tears and snot in the torpedo compartment, officers periodically send orders to the forest and so on and so forth .
In torpedo compartments crying better ...
At the exit, we have an undercooked hodgepodge of American-made cranberry paintings that have already set the edge on the teeth. Here are the echoes of the Red Dawn, and the remarkable cut of The Hunt for Red October, and the intrigue itself is tracing from the deservedly forgotten cranberry sauce called The Price of Fear. As a result, the external purely illusory capacity of the plot rests solely on the former profession of multi-channel director Beaudry.
The packaging was cheap
However, this is not the end of the film’s flaws. In the end, even the “cranberry” can be presented elegantly, trying to hide the lack of talent behind the sweet packaging of special effects, camera work, charismatic acting, the work of artists and composers. But this is not.
Actor's work is more than mediocre. From the heroic acoustics they try to blind a certain militarized clone from the hero of the picture of Luc Besson “The Blue Abyss”, but since the script did not even try to reveal the character, the viewer watches a feminine emotional infantile teenager on the screen.
More obscure looks hero of a black star of French cinema Omar Sy. Omar with sheep’s stubbornness continues to embody on the screen the image of a good black guy, from that cohort of glorious guys with a dozen of correct advice, a friendly bottle of beer and simple everyday wisdom. Before us is just a “pal” in the form of a naval officer. With the same success, he could play a Negro on a plantation, a social worker in a Parisian suburban ghetto, or a merchant in shaurma — no difference.
Rocket launcher of the year
The artists, who always had a part of responsibility for the atmospheric character of the film, could not show themselves either. Let's be honest, fans love pictures of submariners for the atmosphere, the involuntary taste of metal on their lips, the dull moans of bulkheads, the feeling of the infinitely frightening and inviting abyss outside the hull, the moans of the ocean, the feeling of loneliness and fraternity at the same time. There is nothing of this in the picture. Her world is plastic-digital, emasculated, and therefore empty and uninteresting. Also, the depths of the ocean of this film are empty and lifeless, they do not hide any mystery, they just are - tasteless and soulless.
Do not inspire and special effects. Not only do they look frankly cheap before cutting in the eyes, they are also extremely inorganically shoved into the film. No soundtrack, it's not good, not bad, it just is. Moreover, the author would highly recommend some compositions from the picture for a lounge cafe with the same effect.
Roar and balalaika - exactly Russian!
The only value that the picture possesses is a good visualization of that enchanting social and psychological climate that has been forged by independent media in the West all these years. Only after such a shock agitation work can one finally be able to lower the agitators themselves to the level of an illiterate man in the street, because only such a man in the street could have taken such a picture.
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