13 Hours The Secret Soldiers Of Benghazi 4K 2016 Ultra HD 2160p

Story Movie

year 2012. Benghazi, Libya. A group of terrorists decides to "celebrate" the events of September 11 with an attack on the US embassy. Six fighters from the elite special squad are ordered to intervene only as a last resort. But when dozens of lives are at stake, duty and conscience prevail over subordination. And courageous soldiers do not hesitate to engage in battle with a fierce militant group. The battle, which for all six, is likely to be the last 13 Hours The Secret Soldiers Of Benghazi 4k trailer download.

Review 4K Movie

The director, who made a significant contribution to the expansion of the cinematic concept of "scale", for the second time in his career, turns to the consideration of historical events. Earlier, Michael Bay offered to get acquainted with some facts of the attack on Pearl Harbor, but now the director’s attention was drawn to the beginning of the 21st century, when the Libyan dictator Muammar Gaddafi was overthrown, but the morals of his subjects still need to be corrected in accordance with the norms of civilization and law.

The three-hour saga unfolds within a few September days, when agent Jack Silva arrives at the CIA headquarters in Benghazi to protect employees working "on the ground" with local activists (citizens who are determined to build a democratic Libya). “13 o’clock” examines the meager life of brutal men (all like handsome men - Toby Stevens, James Dale, John Krasinski) who monitor the safety of more effeminate colleagues, consisting of intolerable heat and no less unbearable uncertainty when the daily routine on the information board changes literally every hour, and the assumption that Islamists can be "re-educated" has not been proved.

The script writer Chuck Hogan, who wrote the excellent crime novel “The Prince of Thieves”, uses the same techniques that bibliophiles liked, consisting in maximizing empathy for the hero, attention to details that allow touching the metaphysical space, and avoiding declarativeness. Hogan, relying on the documentary study of journalism professor Michael Zakoff, which contains a detailed description of the massacre that unfolded in Benghazi, the attack taken by a dozen agents, and the team’s absolute unpreparedness for it, recreates on-screen characters that are not in doubt in their reality, as well as more importantly, it translates “13 hours” from the category of military blockbusters into a full-fledged drama, and asks questions from the field of political philosophy.

The first 40 minutes the picture represents the heroes, while taking into account who the director is, the armor-piercing action begins literally from the second scene, and the Battle of Benghazi itself will unfold after an hour and a half. “13 hours” is the quintessence of an action-packed film, only action sketches and each has an eye-catching, development and climax. By the end, Michael Bay, as if taking an example from the composer Ludwig Beethoven, develops the action of a crescendo, not singing the horror of the battle, but without denying its greatness, embodied in the courage of doomed heroes.

Everything that happens on the screen is the result of full-scale shooting, almost without using the chroma key, which, taking into account the large number of panoramic views - burning trees, the blown up embassy, ​​territory and interiors more like an estate, views of the city at night, etc. will make you say “wow!” Practically any skeptic and cynic. Bay either imitates the one-shot shooting technique, then turns to the first-person perspective, but for the most part chooses between crane shooting and close-ups, which perfectly suits the strategies of Chuck Hogan, who is interested in the fate of the heroes and the world, which one of the parties stubbornly he doesn’t want, threatening peacekeepers with machine guns and explosion belts.

During a shocking public, open and impudent attack on the US diplomatic mission, Ambassador J. Christopher Stevens, an employee of Sean Smith and two agents whose identities remain classified, were killed. But, an ingenuous narrative, albeit of the highest quality, such as, for example, “Survivor” similar in theme and genre to Mark Wahlberg, is not an option for the talented Chuck Hogan. “13 hours” is unexpected for a niche of mass patriotic cinema, dispensing with molasses, oil and some falsehood, designed to remove any ideological roughness and doubt.

The screenwriter skillfully conducts an exposition not of the events of the eleventh anniversary of the 9/11 tragedy, but of a drama consisting in the fundamental incompatibility of the world of barbarians and the world of culture. No matter how pure the thoughts of US citizens who went to Libya to end tyranny (with the subsequent self-elimination of the Libyans and using the tactics of maximum possible non-interference) are pure, they will always be nothing more than “enemies” for Aboriginal people and excellent targets for working out precision shooting illegally proliferated weapons.

The “savage-civilized man” dichotomy studies the film not only in the conditional cross-cultural key given above, but also addresses the problem of depersonalization, the use of man as a combat unit. Bay has a state star-striped flag, a pattern so beloved by Steve Rogers, does not fly, symbolizing the triumph, and charred will soak in dirty water, hinting at the indifference of officials from high offices to the safety of a particular soldier (which, in general, provoked the 13-hour hell that the viewer will see) and the futility of high thoughts and noble natures to change something in the behavior of those whose children pick up a machine from an early age or use, for lack of the first, cobblestones.