Translated material
When everyone is yours
"Losers" on Moscow screens
Five brave guys from the same Tsaresh pod (Jeffrey Dean Morgan, Chris Evans, Idris Elba, Columbus Short, Oscar Jaenada), a special forces detachment without fear, but with considerable reproaches towards each other, land in Bolivia, where they have to destroy the base drug dealers. For professionals of their level, it’s a cross between a morning jog in the park and completing the first level of Tetris. But quite quickly, completely unplanned children appear in sniper scopes, and the operation goes to hell. The special forces realize that they have been set up, but it’s too late to back up: a certain villain Max (Jason Patrick) is mocking in the radio transmitters, the children explode along with the helicopter, which was supposed to serve as a saving ark for the soldiers, and neatly folded American flags have already been sent to the relatives of the would-be quintet and surviving personal belongings. So, in fact, the restless comrades in arms have to eke out a not very boring existence as ghosts until a certain fatal beauty (Zoe Saldana) makes them an offer that is impossible and would not be desirable to refuse: they are transported in closed coffins to their homeland, where they get the opportunity to get even with Max and shoot properly.Retelling the plot of “The Losers” by Sylvain White (the son of an American basketball player who grew up in Paris, an intelligent mulatto with glasses, who at one time worked on videos for Spike Jones and Michel Gondry) is a thankless task: most of all, it resembles the situation when you throw open the door to a drinking establishment, intending to pamper your drinking buddies with a fresh anecdote, but after a second you understand from their long faces that at least a dozen new arrivals were regaling them with the same story. Joe Carnahan’s “Team A” just flashed across the screens with approximately the same initial data (all over the world, “Losers” came out a little earlier, but this fact doesn’t change anything), and all the cliches of an action movie about a group of dashing pariahs have already been fully worked out program. But if “The Team” was at least not bad, then “Losers” was almost perfect. A clip of wondrous beauty stretched out (but with an amazing sense of rhythm) for up to an hour and a half, a screensaver for a good computer game, a “cartoon” that you get when you draw moving people on the corner of notebook sheets (this notebook alone costs several tens of millions of dollars) - all these the definitions are perfectly suited for the simultaneously infantile and deliberately harsh spectacle. But most of all, “Losers” is reminiscent of a film production, which at the time was called in our penates a “follow-up film”: a three-hour video cassette usually contained two films, the first of which was a more or less blockbuster, and the second an optional, usually short action movie ( or even an episode of some dashing television series arbitrarily pulled out of the season). The artistic value in this kind of bonus was a cat cry, but from the point of view of pure drive and incomparable pleasure, it was simply impossible to compare with them any “real” film. “Losers” is just from this three-penny opera. But technically made in such a way that you can’t find fault. And at the same time, not an ounce of boring postmodernism - everything is like the first time. If there are quotes in the film (and, of course, there are), then you don’t want to isolate or identify them. Not even a movie, but a Hollywood infantry fighting vehicle. “She pushes herself, she drives herself, she gives help herself.”