Bloodshot 4K 2020 Ultra HD 2160p

The first project from the new film universe from the Sony studio, based on comic books by Valiant. The plot will focus on a retired soldier Ray Harrison, who is returned from the dead using new technology using special microcomputers that have been implanted in his blood. Thanks to this, he gains control of electronic devices and the ability to heal wounds. However, one who conceived as a controlled killing machine decides to declare war on his creators and reclaim his memories.

Bloodshot 4K Review
After another difficult military operation, soldier Ray Harrison returns to his beloved Gina. Having met, they kiss for a long time against the sunset in slow-mo, just like in Russian pop-music videos, and in the evening they make love and talk about the scars of the hero Diesel. Without betraying himself, he will give out an epic phrase that does not matter how these scars appeared, it is important how their story ended, because the soldier returned home alive. Philosophies, however, are not visionary: the next morning, Harrison and his wife are kidnapped.

Ray wakes up in a freezer in the middle of pork carcasses. Suddenly, the song Psycho Killer begins to play, and in a plague dance, from which the viewer will probably experience Spanish shame, the villain Aix (Toby Kebbell) will slowly pick up him. He needs to find out who leaked the information to the military, thanks to which the last operation of Harrison began. When Aix realizes that Ray is just a pawn and not dedicated to detail, he kills Gina and her husband. Harrison regains consciousness again, but in a secret laboratory. He only remembers his name and title, but Dr. Emil Harting claims that he does not need to know more, because he has become an ideal modernized soldier, a man without a past.

Thus, a new and, frankly speaking, not very much needed by the world of movie comics superhero Bloodborn, whose blood was completely replaced by nanobots, reconstructing his body, is born. When Ray begins to remember who he used to be, he will be overwhelmed by a crazy thirst for revenge, and the resurrected embittered warrior, contrary to the conviction of the new authorities, will go to seek justice (read - to wet the scumbag Aiks). It is difficult to disagree with the fact that the whole concept of “Bloodshot” sounds criminally boring: this is an archaic story of a vendetta, in the center of which is a hero with a heightened sense of duty and, worse, facial expressions of Vin Diesel.

If it weren’t for the trailers that spoiled the main plot twist (for the sake of preserving the slightest intrigue, we won’t tell him), “Bladshot” could have played great on low expectations. At least the first half of the film is structurally very self-ironic. And although villains dance in it to songs about psychic killers, and Vin Diesel is scattered in a canonical manner with his crowned boyish phrases, the authors use all the archaic details to deconstruct movie comic book templates. The film, which was supposed to continue the loop of absurd and predictable action movies about revenge, is rather trying to look at this trend through parody optics.

This, perhaps, is the only way "Bloodshot" differs from any other plain-looking superhero action movie. The funny thing is that, moving from expositional deconstruction to the development of the plot, a real, and not an imaginary ironic conflict, he begins to stumble over everything that he so zealously ridiculed in the beginning. Having given an interesting passage about the naivety of the revenge stories of principled avengers, he decides to tell ... the revenge story of a principled avenger. Only now, without any irony at all, and with all the attributes of category B fighters: cartoon computer model fights, twitching montage and secondary masked characters.

To some extent, such a stupidity of the “Bloodshot” is justified in the plot. Guy Pearce's character, seeing what Ray Harrison is ready for revenge, at first ironizes about his character, but then expresses sincere admiration for his behavior model. Perhaps the filmmakers are experiencing something similar: perceiving the archaic nature of such stories, they, bribed by the dedication and naivety of the characters, again reproduce their stories. The problem is that in the "Bloodshot" reverence for the outdated canon is not felt. It is more about a repetition that is not profitable.

In the Bloodshot, only the anti-militaristic subtext is truly sincere. Ray Harrison is a small part in a gigantic military mechanism, a consumable item that, against its will, becomes the property of a gigantic corporation. Technology has reduced the number of victims, but made of the soldiers weak-willed cyborgs, who finally lost all opportunity to choose. In the world of "Bloodshot," a modernized society is continuously associated with slavery. The protest is quite infantile and mundane for the genre, but for such a film - a pleasant surprise.