Yes, not only the grass was greener before, but the sun – brighter, but also organized crime – stronger, and hitmen more inventive. Sixties-seventies, golden times of America! Rampant love of freedom and pacifism, the heyday of the era of hippies and the era of the Vietnam War, the period of the birth of rock and the sexual revolution ... but even in such turbulent and idyllic times, there was a place for an underground power struggle. And in this struggle, the key figures were, of course, the performers, some of whom became real legends in narrow circles, like the ruthless Pole Richard Kuklinski, who killed almost two hundred people.
Ariel Vromen decided notably and decorate the sunny years in your own way with your gloomy criminal world. The style of the movie is sharply discordant with the usual ideas about those times: in Vromen, the sixties are similar to the Great Depression, and from the seventies, only attributes remained, such as characteristic cars, suits and hairstyles, and even those – eerily covered with dark strokes of what is happening. Everything seems to be distorted in an ugly criminal mirror, and is filled with concentrated hopelessness and inevitability of trouble.
The extremely gloomy and stern face of Michael Shannon suits all this perfectly, which only from the middle of the movie the scriptwriters with make-ups ennoble the mustache, and then a beard. Because of the very precise outbursts of anger and fear, the language simply does not dare to call his performance grotesque – he played his character brilliantly. Facial expression, coupled with size and cold, unshakable confidence in movements, produce a chic, in some places – a deadly impression of a calculating and ruthless character, who, however, is not alien to human qualities. Shannon managed to tell about his hero even more than the scriptwriters.
The latter, alas, very vaguely, with a couple of flashbacks try to outline the origins of such an amazing, icy character of Kuklinski, but it is rather difficult to recognize them as successful. And Richard's evolution was not particularly successful, limiting himself, apart from purely external manifestations, to only a couple of restrained hysterics, not to mention the plot, where he completely transforms in a couple of minutes of screen time, without special prerequisites, and Shannon puts on the image that he will have to calmly carry it almost to the very end, to the soulful final monologue.
But the main problem of the movie is – this is an attempt by the authors to keep up with two birds with one stone, nothing good has come of it. First-person killer story – this is not easy for itself, but here the writers develop in parallel his work affairs and his relationship with his family. As a result, the underworld is a set of large and very careless strokes on an empty canvas, and family life is painted with even less and pale colors than professional activity. When they intertwine, the action begins to rush from side to side, and only an extremely successful, realistic ending saves him.
Fortunately, the movie is being drawn quite well by other actors – Shannon is not all the same hump! First of all – Ray Liotta, who in the modest time allotted to him by timing, squeezed out of the character everything he could with rare, but with well-aimed blows knocking out of him not only anger and greed, but also fear and even grief. Not far behind and Chris Evans – he is completely unrecognizable here. A simple beard transforms a lot, and with long hair and dark glasses, he turns into another person. And the character itself is cool. Sheer pleasure.
Everything is exactly the same for David Schwimmer, and indeed, after the `` Ice '' you really understand how a simple beard can change a person, and even a mustache, especially made in the best traditions of the seventies. And Winone Ryder long hair is much more to the face – they charge her with brutal doses of cuteness, so you want to keep looking at her.
Instead of summing up, I would like to draw attention to one small, but an important detail: the moment with the ambiguity of Kuklinski's nickname in the title was played very, very crumpled. The emphasis was on character, while he received his middle name for his love of freezing corpses to the extent that it was impossible for forensic scientists to find out the time of a person's death, which was emphasized only in a couple of newspaper headlines that flashed across. It seems like a trifle, but given the title of the movie, it characterizes it to some extent.
The Topic of Article: Review of the movie Ice. Part-time family man.
Author: Jake Pinkman |
