Denzel Washington revives the cliched hunt

Note: The author of this review is a witness little things On a digital sorter from home. Before deciding to watch it – or any other movie – in cinema, please consider the health risks involved. Here Interview On this matter with scientific experts.

The suspect told the investigator, “You know, you and I are very similar.” “At another age, we could have been friends.” The words are pronounced without any hint of sarcasm, without a wink, nudge, or the slightest indication that the character you’re speaking, the actor who is conveying them, or the writer who wrote them have any evidence that they have been skipped a thousand times before. In a thousand movies like this. This is the way little things, A cop thriller so steeped in clich├ęs of the genre – prototypes burdened on both sides of the law, guilt and obsessive, rough-boiled crackling – so much so that it often plays like an occasional parody with jokes cloaked. The film is set in the year 1990, the same year it was written, and had it not been for the stylistic references it took from a previous music and video director and his distinctive additions to the series of films about intelligent psychopaths and work-addicted investigators. , One might assume that everyone involved walked out of a refrigerated room, happily unaware of the past three decades of similar fare.

Stop us if you’ve heard this before. A fighter chasing the streets of Los Angeles, and preying on young women. In the open investigation, veteran stalker: Joe “Dick” is stalking Deacon (Denzel Washington), years after peaking as a sexy bar for the Los Angeles County Police Department, and now working quieter as a patrol deputy for some two-and-a-half hours out of town. A gray and haunted atmosphere. He has dozens of unresolved cases, unmasked demons, and old issues that weigh on his conscience. He talks to the corpses like over a hill Will GrahamHe sees ghosts of those he cannot save. So when routine evidence capture takes him back into his jurisdiction for one time, he finds the same law enforcement remnants on the job again, hunting down another killer even though he’s too old for that shit. Before long, Deke was staying in an unnatural Los Angeles motel, mumbling to himself in the darkened dark green, a flashlight trained on the guide he placed on the wall. Is it considered restraint on the part of the film that it did not tie every image with a thread of yarn?

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Washington, like his character, is back on a familiar land. The Oscar winner lit up in police dough during much of the 1990s, in a frantic pursuit of Bone collectorsAnd the Crazy jumping on the bodyAnd and Virtual reality killers. To the extent that little things Seems like a continuation of that era rather than just an unabashedly derivative bounce, it’s thanks to the weathering of his star’s power – the sense that we’re seeing a worn-out and damaged version of all the smart gum shoes he once wore provided his smiling charisma and silver intelligence. Now that he’s pushed 70, his hair is dotted with salt more than pepper, Washington fits the image of an old professional fighting retirement. His comfort in playing his era, rather than hiding it, makes him a perfect fit for this worn out role. little things He quickly pairs him with a young partner, from The Mills to Somerset: Rookie Sgt Jim Baxter (Rami Malik), whose superiors have warned him that Dick’s way is burnout, trouble, and maybe insanity. Malik, with the privacy of his wide eyes, is a less natural option to play the straight-laced “college boy”, but he and Washington settle into the dynamic, rotting well, joking about the golden old things while watching.

little things It is pure substance. Rarely is there a moment in a movie that does not remember dozens of its predecessors, in form, content, or both. That the support crew of Officers of the Second Series features two pieces of the wire It provides a sense of procedural liveliness to writer and director John Lee Hancock and is brilliantly rough but imprecise. His text is a cheerful and playful outburst of jargon, vulgarity and irony. When his characters do not refer endlessly to the biblical dimension of their work – there is a lot of talk about God, the church, the angels and the revered, backed by an important shot of a cross looming on a hill like a Hollywood sign – it’s the debate over who buys breakfast. Enjoying a movie on its cookie cutter terms depends on finding fun, guilty, or otherwise, in recycled metaphors with complete conviction. Or maybe the craving for comfort foods from a variety of Hollywood isn’t as common as it once was.

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Hancock, whose biography is the heaviest on mush (Hidden sideAnd the Save Mr. BanksOut of determination, he has a good sense of stealing from the best. Lends little things Glow and sinister atmosphere can be described by designer Imposter David Fincher: all dark apartments and hallways, submerged in shade and bright light. The thrilling cold opening, a tense confrontation with an unseen driver on a lone stretch of California Highway, makes the effect instantly apparent. Every once in a while, Fincher’s blatant envy turns into something like real pulp hair: There’s allure Dragon tattoo It flows to the way editor Robert Friesen cuts from someone interested in throwing a garbage bag that contains potential incriminating evidence of a voyeur Washington cop pulling it away – this feeling of being pulled forward by the power of the investigative magic of the filmmaker. A frequent fashionable lensman John Schwartzman mimics Robert Elswett halfway through, as his camera waves ominously over city canyons as a predator pursues its next prey.

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little things
Photo: Warner Bros.

Shade Seven And his infinite offspring of cat and mouse falls unambiguously little things. That quality swings to the fore with the introduction of the prime suspect played by Jared Leto, with utmost creeping arrogance. Pale and oily skin, long and greasy hair, and eyes sunken into their cavities, Leto conjures up Charles Manson long before Skelter of Champions Visibly pop up on the character’s bookshelf. (It’s a toasty nondescript performance, even when one is left to conclude that an owner can easily swap roles.) As much as he appears guilty of such a hilarious bizarre ball, the movie is all about whether the detectives’ certainty can be trusted. Is this guy the culprit or just the weirdo who has seen so many movies about the killers and the policemen after them? A more honest or self-aware movie about its relentless plagiarism might fill you up Scream At this point, however little things He is so sincere that he cannot really dazzle the norms to which he meekly (albeit sometimes effective).

There is a touch Horoscope, Also, in Hancock’s Fincher cosplay. At least superficially, the director embraces the mystery – especially in the impressively pessimistic finale of the film, when a move to the dusty suburbs of the city, drenched in the semi-accusative lighting of the headlights, sabotages Some Expectations about where the plot of such indirect thriller might go. This final clip pushes back all the mystery surrounding Deke’s tumultuous past, flirting with criticism of the Denzel Washington car brand that little things It serializes informally. In an unexpected bleak outcome, the film threatens to coincide with the spirit of the moment, a mass resistance to hero worship endowed by anti-hero jurists with wobbly observance of due process. However, even this element wobbles a little with age: Washington has, after all, revealed the The dark side of the thin blue line Before. And you will have to go back a lot before 1990 to find a cop movie that is a true novel in its understanding, yes, sometimes the detective and its quarry are more similar than others.

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