Bottle Rocket 4K 1996 Ultra HD 2160p

Story Movie

Three young friends from Texas—Deagan, Anthony, and Bob—couldn't decide what to do with their lives for a long time. Finally, they made a fateful choice and embarked on a path of crime.

They thought that the life of a thief was full of romance. But it turned out that not everyone is destined for success in this field. After their first job—robbing a bookstore—the friends went on the run...

Review 4K Movie

“This world needs dreamers” — this line is spoken by a minor character, whom it would be wrong to call minor, since Andersen simply does not have any — and forms the basis for explaining the entire sequence of events in the film, conditioning what happens before the viewer's eyes. One could spend a long time reading reviews on various websites about what the film is аbout: that it is a blurred portrait of losers who imagine themselves to be gangster-savvy guys, that the story once again mocks the naive values that Western society lives by, that the crazy ones among us who want to be like the sane ones, and the sane ones who are simply lonely and therefore seem crazy, are still in the majority, however, this does not diminish the confidence that Wes Anderson has brought so many contexts and meanings to his first feature film that it is difficult to imagine the entire possible hierarchy of logical landmarks and where they might lead when attempting an analytical breakdown of the script. Ambiguous, multi-layered, like a festive cake, this sparkling film demands to be watched again. After all, it is completely impossible to retell it without feeling confused, without losing the theatricality of life present in the production, which you experience only when watching the action unfolding on the screen. It is the highest degree of drama, when life on screen is so unlike, so distinct from the real flow of events in their own cause-and-effect relationships, but so reverently repeats all the impulses and goals that you live by to the point after which, having marked yourself with the sign of adulthood, you stop acting spontaneously, soaring in a burst of inexplicable impulse, getting upset every time you are not supported and childishly criticizing all those who disagree in response. Like a friendly pat on the shoulder, the film ends with the anticipation of a future meeting, and the main character smiles innocently at the viewer, as if cutting off the ending of the story, elevating it beyond the art of storytelling and hinting at a continuation in the viewer themselves, at the inexhaustible recklessness enclosed in the strict shell of good manners and self-control. In general, Owen Wilson deserves credit—he did an excellent job playing the role of a kind of “man on the moon” who lives in each of us, claiming the right to have the final say in any argument with himself, skillfully outwitting his superego and completely unconcerned about the possible consequences of his behavior. He is like the eternal boy in each of us.

About the eternal child hidden in men, real language barriers, spontaneity that contrasts wildly with the dull grayness of everyday life (as, indeed, does everything that happens on the stage of real life), and, of course, love. This is the debut film of one of the most original directors of our time, shot with no less enthusiasm than his subsequent works.