21 Jump Street 4K 2012

There is a significant number of people, potential viewers, who, looking at a movie with a hackneyed plot, immediately strive to brand it as a kind of purely negative result. Tomato juice was invented long before the beginning of the conscious life of any of us, but nothing prevents producers from bringing out its new consistencies. What this prudent impulse is inclined to guess is easy, "Macho and Botan" is a fresh, updated look at well-established concepts. Phil Lord, Chris Miller - guys with very big eggs in a duel for the title of kings of modern comedy.

This is an example of a narrative mechanism sharpened to perfection. Dynamic development, genuine concentration on transitions, quality of performance, emotional diversity and convincing involvement of images in the plot frame. When a certain subgenre has outlived itself over a protracted period, and after long post-analytical periods forms its ideal model in individual heads, someone takes on its implementation. Lord and Miller, drawing on many years of Hollywood filmmaking experience, took and shot the perfect story about two unlucky guys, complete opposites, with everyday social problems who find themselves in the same team as friends. Mainstream at its best.

Tatum gives out a performance of a level that his last five works combined do not have. Hill returns to the popular Superbad image of the past. The first and the second reach an incredible level of interpersonal relationships, when the heroes not only discuss chemistry, but also manifest it. Cop Cube dilutes the colors with racist attacks and a passion for age-rated games. Riggle fits very well into the image of a physical education teacher with all the ensuing consequences, while Ellie Kemper very nicely presents the virgin sexuality of a school teacher. An impeccable casting, whose background, even in the most insignificant episodes, boldly takes the steering wheel into their own hands, for which the directors light up the lights at the traffic lights very subtly and confidently.

Comedy is a complex genre. Among the mass of directorial merit, Lord and Miller deserve special mention for understanding the essence and value of each single episode. Refined and sophisticated possibilities are used with a great expectation of providing one or another effect. It is not surprising that the Western press and critics are so fond of the film - every second of the plot time he remembers that a real comedy does not happen without a real drama.

The widespread originality of small and large elements goes hand in hand with the desire of filmmakers to try to tilt the proposed resources into different categories. Sound editing and musical selection from the very first seconds show themselves to the maximum, when the picture and sound conduct a joint study of each other, trying to find a compromise that is able to maintain emotional and ideological satisfaction.