“Theft of theft” makes New York a criminal nightmare

Since the beginning of the new Darren Arenovsky movie, “The Roin of theft”, it is clear that it has been hitting the sweet spot of his cinematic art – the right range, the right range. The film is located in the summer of 1998, almost completely in New York City I amWhere the waiter, Hank Thompson (Austin Bater), deals with a loud group that crashes a ridiculous law-through dance-and reminds them that Rodolph Juliani, the mayor of Al-Tasbari, is already imposed. (It was a real thing; the latest relevant laws were canceled only last year.) The film begins small, in a narrow place, but the city’s duo-the physical energy and the great administrative infrastructure-into tension, and a feeling of the surrounding conflict that will turn, after a sufficient period, into an ordinary night into a new ni mira.

For Aronofsky, the size is important, because one of the constants of his career is the conflict between order and chaos, a struggle for rational solutions to irrational facts. Very large (“Noah”) or very small (“” whale “) or just irregular (” mother! “) This conflict becomes unbalanced or unlimited. “The theft was caught,” based on a novel By Charlie Huston (who also wrote the scenario), it matches nearly the best drama of Arunovsky and control, “Black Swan” and “The Wrestler”, especially in the way it draws a special life on public spaces. In the Aronofsky cinematic world, the ability to withstand physical punishment function is a test of power, and in his best work, torment takes an intense intimate dimension, creating a severe contradiction with the larger dramatic scene that the procedure extends. “Black Swan” and “The Wrestler” surrounds both documentary facts and hallucinogenic risks in widespread tangle as they reveal psychologically.

But “theft of theft” is greatly different from these two peaks from the Aarunovsky-the hot blood modrama with the comedy-full and high vitality. Simple summary: Hank suffers from a big problem, and it causes others to make more trouble, through trivial decency to help the neighbor. After closing the tape per night, he and his girlfriend, a paramedic named IPhone (Zoe Kravitz), go to his apartment, but they are heading to Ross (Matt Smith), a British villain Mohok who lives through the hall. He explains that Ross is in a state of panic: he must leave to London immediately, because his father had a stroke, and he pressed Hank to take care of his cat for a period of time. The next day, there is a pair of Russian gangsters, a long one named Alexei (Yuri Colkolnikov) and a short microbe (Nikita Kokushkin), by searching for Russians and hitting Hank to death. In the hospital, Hank gets a visit from a police officer, Elise Roman (Regeina King), but he is still reeling and is not found in any state. This changes as soon as he leaves the hospital – he dispenses insurance, exits before he completely recovers – and gets a threatened visit from the brutal. Eliz calls (or Romanian, as everyone refers to), and while he poured what a little he knows, he explains that Ross is a large drug dealer. What’s more, it soon becomes clear that making this call does not protect it from danger but opens an in -depth cycle of chaos. MacGufin is a key that Ross has hidden and found Hank. To force him to deliver it, all the miscreants in the movie-which is headed by a pair of extremist Jewish brothers, Leva (Lev Shrebar) and Shamouli (Vincent de Unofrio)-leads Hank to unfounded tours of physical and emotional torture.

The abundance of visual details and verbal touches highlights the amazing consistency of the city that is still raw with the improvement. The actors from the rich dialogue, which passes through tension and threat, blows in the performances that are completely winking enough on the way, knowing that the characters that publish them – embodying – stereotypes. Likewise, a mixture of shooting on the acute site and a very decorative production design creates places that can be recognized throughout the city, including downtown Manhattan, the cosmic island, Brighton Beach, and Flaching Midoz, seems to be the collections of films only waiting to fill with horrific violence. In short, Aronofsky has both directions, and for an effective cinematic reason: the movie, sometimes, is like cartoon, because its pain is inherently authentic.

Hank, who grew up in California and was in New York eleven years ago, has a tragic background, initially appearing in nightmares. The teenage team was expected to shout in the late teenager, causing a car accident that broke him physically and killed an intimate friend (D’Araoh Woon-A-Tai). His painful memories are increasing through the guilty knowledge that, at the time, the profession that he grieved was further. He is still obsessed with baseball, and while his cancer was, his team, the San Francisco team, is fighting Mits in a separate match. He invites his mother daily to speak with baseball. He also sends her money. His romantic relationship with iPhone is sexy and fun, and it gently indulge its ridiculous phantom methods: its refrigerator is full of beer (one drinks to wake up, what is called breakfast from the heroes); Cracking the rest of the apartment with open bottles, empty or not. But in venting his bitterness around the distance between the life he dreamed of and his current scoop, IPhone is inadvertently pushing. What is more offended is that his monsters, who also include a merchant named Colorado (Bad Bunny), pledge to harm her and Hank’s father if he does not cooperate.

For Aronofsky, the ethnic mixture in the city does not have any special claim for virtue; There seems to be many criminal underlined world as there are demographic groups. Hank, in an attempt to save himself, begins the behavior of his own stereotype, alone Western who assumes the hero’s cloak. Payed with a mixture of stubbornness, pride, self-preservation, anger, and fear, takes things in his hands-and insist on doing things on his way, and makes them incorrectly worse, in ways he never imagined. Hank is unusually fixed in light of the deadly pressure, but not the trick enough – the bodies accumulate. The paradoxes of its existence, and its existence in general, link more clearly thanks to the presence of two religious brothers, Libya and Shamli: they explain their brutality in the philosophical Antifone (“” Sad World “, and they insist on presenting them to some extent. After they launched the horrific Bulletin’s past violence, they force Hank, who has not been willing to drive since his accident, as one of the brother says. “We are in enough problem with Hashem without driving on Shabus.”

While “Swan Black” and “The Wrestler” have gained power from the total audience’s identity with tragic heroes, “Cucking Stealing” provides severe uncertainty in identifying identity with Fuckup station. Hank, after he has already suffered from a failure to change life, is also able to absorb the strikes that would destroy most people, tolerate torment, and stand on work. Although the Hank Land that promotes ruin, Bater gives the character with a erosive childish magic, and this gap between influence and influence-not also in the way that inspiring personalities that raise confidence to the worst bad guys-shattered a radically sarcastic feature on the exciting, engraved story. “The theft was arrested” creative with a lot of counter -comfort, such as a Nerdy neighbor called Duane (George Aboud) whose sad announcement becomes “I Build Websis” as a refusal. Microbe, like rejection of the Quentin Tarantino movie, is constantly acting from the broken pop culture clichies as it ignores the violence. But strange characters the film really inhabits a frightening city, inhabited by the survival of poetry and terrified witnesses. The rude bets are applied to the film’s howl from terrorism, such as smiling face stickers on a grave.

What separates the “theft of theft” from the best Aronofsky action is to make images, which is rarely more than just a functional. Film photographer, Matthew Libatek, dives into turmoil with intensity and accuracy. But there is nothing here to compete with “Swan Black” in installing it on mirrors and eyes, nothing to match the prestige full of compassion and the post -industry plate of “The Wrestler”. Everything moves very quickly so that it cannot be repaired in place with reliable tires, and the work is so increasing and so flowing that it allows the small weapon for reflective moments; The disorders provided are still transparently. These previous films were rich in natural symbols – the dramatic elements that inspired the images rich in philosophical tones. The new has nothing of it. Then again, a collection of the film tone has not been designed to reflect, however, and there are no symbols in any individual images but in the full young man. “The arrest of theft” is the great entertainment to eliminate shame, a feeling of guilt and corruption, treacherous power and shameful hypocrisy. ♦