Rendező:
Тимур БекмамбетовForgatókönyvíró:
Aleksandr TalalOperatőr:
Sergey TrofimovZeneszerző:
Yuriy PoteenkoSzereplők:
Konstantin Khabenskiy, Mariya Poroshina, Vladimir Menshov, Zhanna Friske, Dmitriy Martynov, Galina Tyunina, Valeriy Zolotukhin, Aleksey Chadov (több)Tartalmak(1)
A Béke és az Armageddon között egyetlen dolog áll: a Nappali Őrség. Természetfeletti képességekkel rendelkező ügynökeik ellenőrzik a Fény és a Sötétség hadseregeit. Amikor az Őrség egyik tisztjének fia a sötétség oldalára áll, elképzelhetetlen erők szabadulnak el, és végveszélybe kerül a világ. Az elképesztő digitális effektusok és a lélegzetelállító akciójelenetek lenyűgöző, egyedi világot teremtenek. (InterCom)
(több)Recenziók (8)
I've avoided commenting on this film for a long time. Why? I told myself it was too subjective, too effusive, because everywhere I went I was singing its praises. It's just that even after a few weeks, I can't shake it. And come to think of it, I don't think I'll ever get rid of it... I thought that movie was absolutely amazing! I was entertained, I was absorbed by the effects, the actors, the story, which was not as chaotic – for me – as some here write. I fell even more in love with Anton and Kostya (too bad about what happens in the third book...).
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Unlike Night Watch, Day Watch has the advantage that from the very beginning the viewer accepts the rules of the game set by the filmmaker and gets swept away by an even more convoluted story, wrapped in an even more furious visual garb. The editing, cinematography, and music have all been sped up by director Bekmambetov to achieve the maximum effect i.e., a thoroughly confused viewer. This is especially true if you remember the bare minimum from the previous film. Fortunately, we get a few flashbacks that clarify a lot. The illogicality of some of the unfinished themes from the first film also eventually came together, but Day Watch still has the same level of quality as its predecessor.
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Bekmambetov knows no bounds, and that’s good. Most of the time, not always. Yet the connection to the literary source escapes me. Or rather, it doesn’t escape me, because there’s none.
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I really like the original Night Watch, and even after watching it multiple times, I consider it to be a quality combination of sci-fi and fantasy. And yet when Day Watch started, I became more and more disappointed, and my great expectations eventually turned to disgust. After the first act, I felt like Timur Bekmambetov had lost his mind and made a total nonsense and mess out of the sequel that even the readers of the source material can't make sense of. Maybe it was only after the body swap that I gave him a chance, and at that point I endured until the end. I simply don't know what advice to give here. More magnificent, more epic, but noticeably more confusing, on the other hand with a brilliant ending. If both parts were combined into one, the unnecessary side storylines (Kostya) were skipped, and the screenplay focused on the main storyline with the Great Other, it could have been a true Russian triumph.
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Timur Bekmambetov has gained recognition as a creator of TV commercials and music videos, and he applies the techniques from this industry to the world of feature films. His films are characterized by intense editing, effects, slow motion, camera zooms, and various special effects, and the story or character work is completely out of control. However, one thing must be acknowledged, he does not conform to any market dictation and he makes exactly what he wants to make and what corresponds to his taste. Therefore, he is quite convincing in what he does, and either you like it or you don't. The 90s generation, which grew up on MTV music videos, does not have major problems with it, but unfortunately, I do. Night Watch, which earned Bekmambetov his reputation, was also influenced by his film style, but there was still something that balanced it out - Russian realities and a lack of resources that forced the director to create an Eastern fantasy rather than a purely cosmopolitan product. Day Watch was made in collaboration with Americans, with more money involved, and therefore the film is more bombastic (Bekmambetov literally intoxicates himself with the possibilities of visual effects technology and is somewhat megalomaniacal) and also more cosmopolitan. From my perspective, these two films are messy and more suitable as literary source material rather than what Bekmambetov accomplished. His film direction is in fundamental contradiction with my film vision, and if I had to watch his latest creation about an American president fighting vampires, my blood pressure would probably rise uncomfortably… Overall impression: 30%.
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The plot is an even greater mess than in the first part. As a result, it’s practically unbearable in terms of content, and the only thing you can focus on is the incredible formalistic orgies of Russian super talent Bekmambetov. This guy has the potential to become the king of action in the coming years, but he needs to break free from messy plots and work on a simple and straightforward storyline, which, under his energetic direction, will most likely be a first-class experience, which, unfortunately, despite some undeniable qualities, this mess is not by any means.
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Day Watch is a mess, but in the nicest sense of the word. The vampire universe here has no rules, no set abilities or limits, so the viewer is not at all prepared for what might happen the next minute. Here the hero teleports through posters, there he flies through a closed subway door. For example, one of the characters is told by another character that she's not invited to the party, but she'll definitely send her some pictures of it. Then, at the party scene, we see that uninvited character there as a photographer. She subsequently stops the exposure time of the camera. The whole of Moscow is here destroyed by a rubber ball (not seriously). Logically, the script runs on half-gas, but its functionality surprises with about seven times catharsis at the end. On the other hand, for the music, as in the first episode, they should crack someone around. Day Watch makes as much of an argument for Timur being a brilliant director as it does for him being a total dud. Yet his follow-up, Wanted, proved the former.
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Bekmambetov simply revels in action scenes and wants to present them in such a way that it is as perfect as possible, as interesting as possible for the viewer. He does quite a good job of it here. In his execution, it sometimes really has the right adrenaline rush, but Day Watch just didn't captivate me with its story. If I had seen it the year it was made, it might have been different. As it is, it's still spectacularly above average, which is what matters.
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