Taxi Avenger – Weekend
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A thriller about a taxi in an application and about a person as an application to a car was released. The main role in the neo-noir about Moscow at night was played by the main Russian actor of recent years, Yura Borisov.
When night falls on the city, somewhere on the outskirts in the garage, the sad driver Sasha (Yura Borisov) wakes up, he gets in the shower, polishes his head with a razor, watches videos on the Internet and, having brewed coffee in a thermos, starts the engine of a spacious Korean sedan with a smartphone from his smartphone. checkered. Sasha likes to work in the dark. Firstly, there are no traffic jams, and secondly, customers come across, if not interesting, then at least generous in tips: nightlife lovers, unfaithful husbands, demi-monde ladies. Life has taught Sasha that “the most problems come from the most harmless passengers”, and he is looking for fidgets. So today, “lucky” – curly Liza (Anastasia Talyzina) jumps into the salon. A holiday girl fully armed with scarlet lipstick, Serge Lutens perfume and threats to slap a unit in the application, if something goes wrong, you won’t close your mouth in time or won’t open the door in time. You can’t call Sasha a talker, but it’s difficult with the door – although he is an extra-class driver, he is a person with disabilities. It’s hard to get out of the car, the film is called “Centaur” for a reason.
The mythology of the taxi business in the cinema is a topic for a separate large monograph, which will definitely be written one day. Sasha has an extensive on-screen genealogy. Even if we immediately reject the American classics from the old “Taxi!” with James Cagney and Martin Scorsese’s “Taxi Driver” to “Night on Earth” by Jim Jarmusch and “Accomplice” by Michael Mann, even if you close your eyes to Jafar Panahi, a taxi driver in Tehran, or forget about the French “Taxi” by Gerard Pires, there will still be an impressive corpus of domestic classics. The tenderness of Oleg Efremov in the film “Three Poplars on Plyushchikha”, the severity of Nikolai Kryuchkov in “Citizens”, the sobriety of Pyotr Zaichenko in “Taxi Blues”. All of them are not just drivers, each is a mythical hero, a full-fledged reflection of his era. But there were other taxi drivers in our cinema – dark horses, dangerous companions. Such as Georgiy Zhzhenov’s hero Tuliev in The Resident’s Mistake, as the comical policeman Stanislav Chekan in The Diamond Arm, or, say, the terrible Andrey Boltnev in Confrontation. Each of them had a special, like from the hit of Mikhail Boyarsky, a mystical flair. Something similar is felt in the hero of Yura Borisov. There is no way to guess who he is – a guardian angel or a fighter angel.
The authors diligently throw in circumstantial evidence. And excellent casting, coupled with laconic direction – and you don’t expect it at all from the author of the long-standing thrash comedy Zombie Vacation – makes the first part of Centaur a truly fascinating spectacle. Anastasia Talyzina, who became famous for her role as the provincial blogger Monroe in the TV series Patriot, frowns beautifully and pouts her lips in the back seat of the Comfort Plus. Does not spoil the picture and appearing on the thirtieth minute, Sergei Gilev, who induces horror in a black office “rover”. But the main thing is that it really tones up doubts about the reliability of the protagonist: Borisov organically merges with wet asphalt and seems ready to play the villain. Neither a broad smile nor a trunk lined with black polyethylene inspire much confidence. Suspense is not suspense, but feelings like those that overcame the main character of “Compartment No. 6” are fixed inside.
Alas, screenwriter Mikhail Zubko and director Kirill Chemnitz fail to keep the viewer in the dark about the intentions of the taxi driver for a longer time (better until the very end). And there are simply no other opportunities to keep the intrigue in the design of the Centaur. Here, probably, a second plan would be useful, thanks to which an elastic thriller could, for example, be reborn into a social statement about the world of service and exploitation or about the problems of inclusion, but this is clearly prevented by the entourage of the comic book, which avoids any specifics. Here all the details are very utilitarian. Maybe it was worth delving into the psychology of episodic characters (by the way, wait for the appearance of Ksenia Kutepova), but the viewer does not shine to learn something really secret even about the main characters. And there will be no full-fledged third act – having solemnly made its decisive twist, the story begins to slip, offering the centaur to turn into an action hero.
The word “centaur” in the title gives a fatal duality. It was smooth on paper, where an excellent driver with a disability saved a girl in trouble, but on the screen it turned out that it was impossible to simply attach the face of a folk hero to the horse body of a technical Moscow neo-noir. Yura Borisov destroys his genre smooth writing – it turns out some other kind of movie. Something in between the films “Accomplice” and “Three Poplars on Plyushchikha”. And the authors are afraid to step into the obscurity of everyday realism: when Sasha innocently declares to a passenger that he has accumulated a million with his nightly work, he wants only one thing – for the radio to sing to the same Boyarsky: “Oh, oh, slow down, slow down,” and the hero shared in all heartbreaking details how he did it. But the radio tape recorder with Sasha is modestly silent.
In theaters from 13 July
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