Directors: Anthony Rousseau, Joe Rousseau
Writers: Angela Rousseau-Odstot, Jessica Goldberg, Nico Walker (novel)
Operator: Newton Thomas Siegel
Editor: Jeff Grot
Starring: Tom Holland, Ciara Bravo, Jack Raynor, Forrest Goodluck
Streaming is on: Apple TV +

I believe Anthony and Joe Rousseau are still waiting for their superhero hangover to subside. Is it really possible for superhero movies that show super-soldiers and hammer gods to be more realistic than a movie that deals with drug abuse and PTSD? Chereshovo the answer is a resounding and blatant yes. For Rousseau, this is obviously a huge leap in genres and content, but maybe they weren’t ready for that yet. If they had waited, we would never have been subjected to a movie that looks at real life, everyday problems like beautiful trophies. You know that a movie goes wrong when the first thought that comes to mind is, “How did Tom Holland keep these pecks if he was tall all the time?”

The film is based on the semi-autobiographical novel by Nico Walker of the same name. Twenty-something young man (Tom Holland, Spider-Man: Back home) enlisted in the US Army after a brief battle with life. Each frame depicting his time in the army and war is glazed in style. The Rousseau brothers are not trying to hide the fact that they had several million dollars in their coffers to blow up. Cherry ignorantly equates style with impact. But this treatment, whitening the film of reality, is not limited to fantastic sets.

Holland’s time as a needle prick addict began after his return from the war, suffering from PTSD. When he runs out of money, he robs banks. But not in the usual way – he is soft-spoken and cooler than the cucumber. Every time he goes to the cashier, he flashes a note that says, “I have a gun / This is a robbery.” Whenever that note came up, I couldn’t help but think how unperturbed and Joker-like this handwriting. The meaning of the film fades as his desire to decorate the scenes inflates. Chereshovo logically and emotionally, the subtle dramatization leads her to turn her attention to drug abuse from the condemnatory to the fantastic, turning mental trauma into tragic porn. I liked the film better when it felt like an endless series of glossy anti-drug ads.

The film is mired in these dissonances. He unites against the functioning of the military, but his military scenes are filled with the aesthetics of Michael Bay. It destroys drugs, but it also makes them look seductive. But the biggest discrepancy here is Tom Holland’s casting. He can’t shake off the brilliant brilliance of high school and the superhero we came to associate him with. His chaste innocence pierces the motives of the film – that was my main grip The devil all the time as well. At the same time, however, the Netherlands never hesitates. This is perhaps his best performance so far – he is trying to embody a logical addict, scattered from his trauma to the best of his ability. But his reflexive naivety comes along the way to make his performance captivating.

Honestly, I initially took advantage of the brilliance and traditional drama of the film. Russians know how to package content rooted in ugliness with appeal and appeal. It was intriguing, damn it, the whole blow – the Netherlands broke the fourth wall, its ecstasy, even its initial military shelling. But for two and a half hours, which felt much longer, this insolent treatment began to weigh on me. The overly stylized popping of pills, the cinematic blurring, even the editing of silence – all this – turns a decent start into bloated dirt. Eventually, Cherry collapses under the weight of his own ambition.



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