The Tax Collector 4K 2020 Ultra HD 2160p

Story Movie

Knocking out black cash from the debtors, two collectors crossed the road to the head of the drug cartel, who practices shamanism. By provoking a conflict between the two gangs, which could turn into a bloodbath, the collectors endangered the lives of their families.

Review 4K Movie

Director David Eyre is a weird guy. Well, how strange; he loves an incomprehensible story about two men going through a personal hell. Hell, according to Eyre, is located in Los Angeles: be it magical in "Brightness" or completely mundane in "Patrol" or "Training Day". Only in the past, men were dressed in the uniforms of law enforcement officers, and now ... in a word, they are on the other side of the law. However, there is something in the guardians of the law that is lacking in wild bandits, despite the abundance of thieves' romance - a feeling of elbows. It seems that it is in routine police work that a tough and tense thriller can be recreated that builds a believable connection between the characters, while in Knocking Debt, Air's attempts are smashed against a disorderly wall of clichés - a lot of posturing and even more gangster clichés of an average crime drama. lousy.

Two gentlemen from the main road, who look more like tired white-collar workers in a mid-life crisis, rather than out-and-out bandits, are roaming LA and collecting money from local gangs. One of them, a misogynist and psychopath named Creeper, is played by our favorite Shia LaBeouf (who again distinguished himself and tattooed his entire torso for this role), and the other is Bobby Soto. Bobby Soto's character, David, is a man who perceives his collection activity with criminals as a job; he has a loving family, hobbies and a typical home life. In short, Creeper and David constantly "threaten South Central", carrying out orders from a mysterious crime boss. Sooner or later, of course, this lifestyle leads to communication problems.

In the best traditions of Clan Sopravno or Scarface, the Knocking Debt scenario struggles to portray crime as an alternative route to the American dream. Unlike the aforementioned works, Eyre's film fails. The reason is that Eir does not praise crime, and God forbid, the cinematic God, if he did, but tries to spread his thoughts along the tree. Eyre's heroes did not seem to choose this path, i.e. the script blurred the distinction between "good guys" and "bad guys." This is a very dangerous idea, given that in the interpretation of the creators of "Knocking Out Debt" some criminals are better than others. A frightening idea has a right to exist, but not in the form shown in "Debts": this idea is simply not developed here due to the whim of the plot. The villain of the film turns out not to be David's alter ego or not Creeper, as a possible (and quite natural) variant of the protagonist's personality development, but some visiting Mexican crime boss. Having seen "Breaking Bad", Eyr, apparently, uses his fantasies left after the "Suicide Squad": for some reason there is a place for the sacrifice of virgins, and other ambiguous things. In other words, instead of psychologism and transferring the eternal question "Am I a trembling creature?" to the level of reflection of the protagonist, who is a notorious criminal, the director decides to play a little movie comics.

The implementation, and indeed the situation in general, does not benefit Debts. The concept of ghettos and streets is seen as a separate category of storytelling, but Eir, again, did a much better job of capturing this in the Training Day script and Patrol. Apparently, this time the director decided to inject some of his own new, special style, with which he experimented in Suicide Squad and Brightness, which led to arrogance: quite a few moments of Kicking Debts smack of exploitation and look like elements pointless action movie. With so much content inappropriate to the script, watching Dolgov for 90 minutes is unusual, although at times the questions of the criminal legacy, clearly left over from some rough version of the script, make you think.

Despite the bright background of "City of Angels", and in general interesting personalities at the center of the narrative, the crime drama "Knocking Out Debts" is too tortured, too familiar and too banal. Such factors pull the scenario to the bottom: after the failure in the form of "Suicide Squad" and a relatively pleasant return to the zone of creative comfort in "Brightness", Eyre is disappointing: the psychoneurotic revelations about the everyday problems of the Los Angeles gangs are more reminiscent of the adaptation of some particularly boring video game missions GTA series than conceptually rich stories sung in other gangster movies or westerns. As a result, everything seems so artificial that even the elements that arouse genuine interest wither against the background of outright theatricality: the slow narration cannot be diluted even with the cheerful dismemberment and thrill of the deeds of the ghetto residents of your decaying America that have completely lost their adequacy.