The Little Things 4K 2021 2160p WEB

The up-and-coming young detective Baxter joins forces with tortured Deputy Dick to capture a serial killer. Dick, like no one else, knows how to find important little things, but he does not like to follow the rules at all, which is why Baxter faces a difficult choice.

The Little Things 4K Review
Dick (Denzel Washington) retired from his job as a detective after a mysterious incident and has been working as an ordinary police officer for five years. A sudden series of murders of young girls in a particularly sophisticated manner forces him to get involved in the case, teaming up with a younger and more zealous investigator Jimmy (Rami Malek). The clues lead to a sinister mechanic (Jared Leto), who is almost always one step ahead of the central duo (as much as possible).

The smoke of nostalgia is pleasant. In society, the practice of referring to the past in any of its formats - from yard burdocks to Samurai sweets and Shokobarokko cookies - is always especially revered. You can ban a lot of things, including walks, but for escapism and the magical "country that we have lost" - we will die fighting without blinking. In the cinema of nostalgia, for at least twenty years they have been praying hard, reworking, qualifying for earnings and guarding Greenpeace with zeal. Disney is restoring and reflecting on a limitless library of animation and game classics, Warner Bros. gives the go-ahead for the sequel to The Matrix and resurrects Dune, Netflix and Amazon guess the requests of an addicted audience in a second, adding a new flavor to the weekly originals. Remakes are not shameful - the norm, a lie for the sake of salvation, perfectly aware of its mission and generously giving capitalistically. Until a certain moment.

The plans of the director of "The Devil" John Lee Hancock hardly included a revision of one of the most popular genres since the inception of cinema - with suspense, twists, twisting maneuvers and turns in the wrong direction, laughing at the viewer with a nervous lump. Before him, as before all of us, they had really said everything - from Fritz Lang in M ​​to Fincher (first in the radical noir film Seven, then in the visually atypical journalistic Zodiac) and Villeneuve with The Captives. The difficult but feasible task not to miss and enter the river twice (without angering others and himself) Hancock fails with the weary crackling of a stoker's shop, where the exit is on coupons, and the "devil" is in their heads.

In 1993, little-known in Hollywood, Hancock wrote a film script specifically for Steven Spielberg. He refuses (because of the quality of the script?); the young author continues his search. Having died out and found himself in the new century, Hancock tried to echo Ron Howard by filming films stylistically and ideologically similar to that: the box-office hit "The Invisible Side" with Sandra Bullock (some ten years ago, academics shed tears over the type of "white savior" for African Americans, awarded an Oscar and a Soul), the robust comedy Saving Mr. Banks with Emma Thompson and Tom Hanks, and the Founder biopic about the birth of McDonalds. However, the unfinished play with the murders in the Los Angeles noir frenzy clearly pulled Hancock back to the ground like an ingrown toenail - only he had to reap the benefits painfully and painfully, not for him, but for a sophisticated viewer.

In the 1990s, ideologically imitating the same "Seven" (is it really Hancock who owes Fincher?), "The Devil" could take root, but even then he risked dusting up quickly, hoisting himself next to other colleagues in category B who did not pass the deconstruction exam and radicalism. The absence of risks in this particular movie, protection from all possible attempts to step aside by a millimeter drowns it in lack of ideology and emasculation. After eternity, crawling out like a pimple, anachronism leaves nothing from the naive ideas of Hancock's stormy and looped youth, except for illogicality, devoid of self-irony and stuffiness. The latter is not included in a complex in the so-called mythical "atmospheric" inherent in the place of action, but lives separately - as an annoyingly arrogant smog and a syllable, from which the throat and eyes itch, shrink, and then indifferently weaken and only props their face with their fists in the hope of a quick end ...

During the preproduction stage, Hancock imagined his characters with the faces of Clint Eastwood, Warren Beatty and Danny DeVito. Thirty years later, Washington, Malek and Leto, who replaced them, have four Oscars for three, only the amount of gold is less homogeneous and their presence on the screen does not become vain. Washington is squeezing out the drama and part of the credibility from the hero who has sinned in the past, coming to a dead end out of reason and shameful remarks. Malek and Leto decided to continue the vanity fair with zero dedication: the former generously distributes unjustified somnambulism, wandering around the crime scene and making no transgressions; the second sincerely believes that unwashed hair, brown lenses, a false belly and a slightly altered voice will make the world shudder. The king is, of course, naked and limping; it remains to believe that Leto will someday mercifully dismiss the idea of ​​being a walking kaleidoscope from Aliexpress, taking with him the mailing of dead rats and used condoms to his respected colleagues (see Suicide Squad), and remember about music, for example. Perhaps the only one who from the "Devil" team should sleep well is the composer Newman, who does not have an Oscar. The foggy sound with interruptions to the nervous little things in the title reminded of his accompaniment to Robert Altman's The Gambler - they were fleeing from an unknown threat, here they only threaten to spend time.

If the “good cops” in the end, the satisfaction allegedly visits, then on the way to the recipient-viewers it gets stuck and no longer reaches. Pulp fiction is dear to us everywhere, but building a mine without an elementary background and a text that respects you, with a delay of several lives - is a sad laugh. There is no place for humor in the film itself, only for old people and young people who want to be like them. It is better to remove the glance at the dying world from the nostalgic menu, after all, we are already quite big, we will force ourselves to respect