Evil in Reminiscence Movie

Remember no evil in Reminiscence Movie. What is it – “Beginning” at minimum salaries? The misadventures of Max Payne, who went over so much that the hangover had to be met in the era of the victorious cyberpunk? Sometimes the answer to a riddle is so simple that we simply don’t notice it. “Memories” is a futuristic quasinoire that, like a downtrodden schoolboy, wants to be like a cool classmate in a leather jacket with the words “Aria”, but godlessly stutters on the very first lines of “Careless Angel”.

Cynical off-screen movie monologues, a rumpled coat with a raised collar, a glass of whiskey that rubs against the three-day stubble of the protagonist, deceived by a femme fatale, so also in the scenery of the near future, where people have learned to penetrate someone else’s memory. Black film styling with an emphasis on supposedly hard science fiction goes smoothly. True, with a terrible bending of the stick on the first point.

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Chewing on cimes: classic black and white film noir, crafted by the crazy little hands of Billy Wilder, Howard Hawks and Carol Reed, are rooted in second-rate pulp fiction. In a cheap “palp” at the price of fifteen cents a book; in which the logic of the narrative and the weaving of intrigue often gives way to bold descriptions of the men in felt hats, with revolvers in their bosoms; cigarettes in their teeth and March cats scratching their wounded souls. Noir is texture and biting. Outstanding noir (including the one with the prefix “neo”) is the sum of the two previous points; multiplied by a folding story without losses in terms of brutality.

From this seemingly three times outdated genre construction, an interesting hybrid cinema can be concocted. We take a typical popular avenger of the middle of the last century; and throw it into the alternative America of the 80s, where Nixon still rules; and the mummers of superheroes are outlawed; here is Alan Moore’s “Guardians”.

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