Gunpowder Milkshake 4K 2021 2160p WEB-DL

Being a hitman can be both fun and difficult. Eve inherited from her mother a talent for masterful execution of contract killings. But one day she goes against her boss and herself becomes a target for a whole squad of mercenaries. And then mom and her former partners are right there to help the girl eliminate enemies.

Gunpowder Milkshake 4K Review
Sam (Karen Gillan) was not allowed to choose a profession on their own: Scarlet's mother (Lena Headey) worked as a hired killer, which means that her daughter would follow suit. When the parent disappears, Sam is forced by inheritance to accept all obligations and also kill to order. But the time comes, the heroine crosses the road to the respected bosses of the mafia and is now forced to hide. After a while, the prodigal mother and her fighting friends (Angela Bassett, Michelle Yeoh, Carla Gugino) come to her aid.

Either tired of the daily routine, or deliberately rebelling against years of slavery, Sam goes against his employers, the mysterious "Firm", and kills the son of a Russian mafia. Patron Nathan (Paul Giamatti) is powerless and he himself is ready to send thugs for Sam, only to respect the honorable husbands in black suits who cover him. The two-hour timekeeping interferes with the film, but with the mood "the whole world is against us," three generations of central heroines will not let the action sag and the action will not let.

Film director Navot Papushado, best known for his work on horror movies, found a way to gracefully package gender in a choreographic action wrapper, combining it with family melodrama and taking inspiration from the recent John Wick and Kingsman. The results of a temporary separation and criminal injustice are summed up here vindictively and ironically, under a deafening nostalgic soundtrack from Janis Joplin, not forgetting about the laws of the genre, but without forcing anyone to them.

Visually trying the "Cocktail" will not be difficult: pistols, crossbows, teeth crumbled with a plaster bust, an eight-year-old girl ("and nine months!") Driving a bullet-proof car. Papushado does not disdain rough, sharp strokes, as if thinking in advance about the upcoming sequel (was officially announced last week), hastening to interest the audience, until it dissolves and leaves for the Widow walking in the next hall. Neon lights, prints of homemade manga, gloomy, as if embarrassed by something, humor make the film a cheerful summer marathon for survival and only a little experience. The director manages to bow to Richie and Tarantino (the first to a greater extent) for a happy youth and a carefree future, which, with such role models as in the center of the plot, will not disturb any syndicate.

The mother-daughter duet does not have time to dysfunction here, the script very superficially describes the reunion, as if it knows exactly what the audience came for. After a long separation, Scarlet will apologize to Sam for her excessive careerism, the girl will forgive and decide herself, in turn, to become the right mother for the accidentally met Emily, whose father she had to shoot. Everyone makes mistakes, correct them with a sin in half, fireworks and knives, but the family tree of this female line refuses to wither in spite of the impersonal horde of mercenaries.

Karen Gillan is gradually leaving supporting roles for the first and feels more than comfortable in the genre. The four characteristic "aunts", as they call themselves, are still underestimated by Hollywood, echoes her and even replays her in their field: Headey could well give odds to Charlize Theron in "Explosive Blonde", Bassett and Yeo differ in temperament, but always rapidly act, and at the end hint at a romantic connection. The former is still in Wakanda in thought and tone, having exchanged royal clothes for a trouser suit; the second is still choreographically flawless, as if twenty years had not passed since Crouching Tiger. Carla Gugino as a librarian-machine gunner dilutes the atmosphere with ironic concern for the protagonist.

As in "Widow", the conveyor at the "Cocktail" does not break, but continues to rethink the long-familiar plots, either stumbling over clichés, or noisily leaving them, to the delight of an unrestrained audience that decided to get the notorious guity pleasure. "Shameful" or "guilty" in the expression seems to be an outdated archetype, so it makes sense to leave just pleasure, here we have heard a lot about it.

Closer to the finale of "Cocktail", one of the antagonists wearily asks the fighting heroines: "Maybe that's enough? I have an army here. " In response, Sam sarcastically answers the facts: "And I have a mother here." Blood ties in this film work like a vaccine that has come into circulation, approved by all authorities: you can protest against it, complaining of excessive emotionality or suddenly a tiresome and offensive agenda, but it will no longer become less effective.