Old 4K 2021 Ultra HD 2160p

M. Night Shyamalan, who finished his superhero trilogy with not very successful "Glass", is preparing a new project based on the graphic novel "Sand Castle". "The old", like many of the author's films, is assembled from, at first glance, ordinary genre templates: people who have found a woman's corpse, mysticism, a mystery that will lead to an unexpected ending. True, we are already used to the fact that the famous director's twists turn the perception of history upside down.

Old 4K Review
The Kappa couple (Gael Garcia Bernal and Vicky Cripps) together with their children come on vacation to the paradise island. They are on the verge of divorce, and Prisca's wife also has a developing cancer, so this trip for them is the last chance for a normal rest before the inevitable and not the most pleasant changes in life. When a friendly hotel manager offers them an exclusive tour to a beautiful beach that ordinary people don't know about, Kappa happily agree.

The family of a severe doctor-cardiologist (Rufus Sewell), nurse Jerin (Ken Leung) and his girlfriend suffering from epilepsy (Nikki Amuka-Bird) are sent there with them. The beach really turns out to be amazing, but only terrible things happen on it: first, tourists will find the corpse of a girl (and a rapper who does not understand anything, who will immediately be suspected of murder), and then the children will suddenly begin to grow up by leaps and bounds, as they say, but by hours. Time, it turns out, passes faster on this beach, and it is impossible to get out of here: with any attempt, the head starts to hurt badly, and the person loses consciousness.

M. Night Shyamalan has long become more of his films - and therefore it is most logical to talk about "Time" from the point of view of his author's style (even though this time the script is not original: the director freely adapted the French graphic novel "Castle from sand "). The style, I must say, is very monolithic - so much so that in the self-repetitions of Shyamalan it is just right to begin to see some special kind of (post) irony. Well, a person who has been scolded for the same things for almost two decades cannot step on this long-rusted rake over and over again. Moreover, in his filmography there is such a picture as "Visit", absolutely self-ironic, turning the director's style inside out and laughing at himself, ideally combining the scary and the comical.

Now it seems that the luck of the "Visit" was actually accidental, and Shyamalan himself - just like the heroes of his last film - simply did not notice how time flew past him. How the fashion for silly concept thrillers faded away, how the sudden twist at the end was not enough for people to justify an hour and a half of dramatic ordeals. Or Shyamalan, on the contrary, has reached the peaks of humor that are still incomprehensible to us and specifically reproduces with a vengeance everything for which it is customary to dislike his films: again he forces good actors to pronounce bad text, again hides a catchy concept behind a conformal family melodrama (a problem that lasts from the world-renowned "Sixth Sense"), again inserts into the finale a stupid twist, which is entirely built on a detail that appears out of nowhere ("a piano in the bushes" or, in this case, the comic, by the way, was not. From a man who was once called the "new Spielberg", he gradually turns into a brother of the conventional Alexander Nevsky (not in terms of the quality of films, of course: Shyamalan has not yet lost his talent as a director), a man-meme, whose "badness" becomes an integral part of the author's handwriting.

At the same time, there are unambiguous hits in "Time" - and almost all of them are associated with moments where the director stops trying to rationalize what is happening and gives himself up to the general psychosis of his characters. When the character of Rufus Sewell, in tense moments, suddenly begins to ask everyone in which movie Jack Nicholson and Marlon Brando played together ("Missouri Bends," if anyone is interested), when one of the heroines turns into a broken monster from a real body horror or when rapidly The grown-up brother and sister, tired of looking for a way out of their situation, decide to simply build a sand castle - a banal, yes, but still a vivid image of the transience of life. Shyamalan really knows how to work with chaos (this can be seen in "Glass", and best of all in the same "Visit"), he goes mad, he famously captures a psychological breakdown: in this he is helped in a strange way by a camera living here its own life, recording not faces, but only their random fragments, controlled as if not by a person, but by a neural network that learns right during the shooting.

But the director himself does not understand his talent - and seeks to comprehend the unthinkable, to derive a harmonious equation from a schizophrenic set of symbols. It is ironic in this sense that in the film he gave himself the role of a person who literally conducts a scientific experiment on the main characters and translates their lives into mathematical data. It is even more ironic that many of his characters are trying to do the same rationalization. And for anyone, including Shyamalan himself, the scientific approach does nothing good.