Triple tournament Oscar winners

"The Little Things" ... a dark drama that breaks the rules of the police class

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The most special thing about "The Little Things" is that it is not the movie you expect.

This is a detective movie made in the European way, or in the style of "Nord Noire", a Scandinavian police genre that originated in Norway and Sweden in the 1990s and has been borrowed a lot from Hollywood.

But the biggest problem with the film is that it will anger many, and the mainstream audience may not accept it, given its extreme darkness.

This is similar to David Fincher's famous 1995 film "Seven", in terms of atmosphere, but it differs from a story and a solution.

The film begins like hundreds of police films: another murder left by a serial killer who targets a certain category of women, such as prostitutes, and practices special rituals on the bodies like his signature on them.

The case is handled by two investigators, the first is an experienced retirement expert, and the other is a young veteran.

They don't accept each other at first, then put their differences aside and cooperate.

The movie is not an interesting story as much as it is an examination of the behavior of three characters.

1990 Sheriff Joe Deakin (Denzel Washington) goes to the Los Angeles Police Headquarters to receive evidence of a crime.

Deakin was isolated because of his past, which witnessed a fatal mistake and lived with intense remorse and a feeling of guilt, so he decided to isolate himself and work in remote places where crime is absent from the streets.

Deakin is tasked with returning to his previous duties, but his return is met with condemnation and distrust.

There is an alternate in the field that Deakin has left, which is Officer Jim Baxter (Rami Malik), a young, smart, educated and ambitious man.

It is here that an unconventional partnership begins that results in an investigation into a suspect named Albert Sparma (Jared Leto).

While the story written and directed by John Lee Hancock does not depart from the traditional boundaries of any detective film, its purpose is different.

Hancock has beautiful movies to his credit, most notably The Blind Side, The Highway Men, and Saving Mr.

Banks.

The movie begins with the "Who is the Killer?" Plot, but that changes with the entry of the main suspect, Sparma.

It then turns into a struggle of wills between Deakin and Baxter.

Beautiful performance is what elevates the movie to overcoming obvious flaws such as unbelievable parts, for example, any large city police headquarters will allow a policeman who chooses to isolate

And suffering from a psychological complex to participate in a major investigation into the crimes of a professional killer?

But it wouldn't hurt if the movie featured three Oscar winners, all of whom put their best in a movie that would have been dropped had it not been for the performance.

Washington performs conservatively, but the pain is not lost.

The retrospective scenes serve the character of Washington alone, and because of them we are aware of the extent of the pain he is experiencing, especially the scene of him lying on the bed in the hotel with his eyes shedding tears, the causes of which are only clear at the end of the film.

The talented Malik embodies the personality of a seasoned detective who makes a fatal mistake in a moment of rage.

In comparison, it is as though the film tells us that Deakin's history has repeated himself with Baxter, with their different motives.

Leto is the surprise!

Because his character here is more complicated than the lousy joker you dressed up in 2016. If he were the same as Sparma in this movie, Waken Phoenix's performance would be forgotten.

Leto goes so far as to invent a strange gait for his character, Sparma is intelligent and cynical who knows how to mislead, distract, and mock Baxter and not take the investigation seriously.

This is not a thriller based on thriller, but rather slow based on performance and the harmony between its characters.

The ending is not satisfactory and different from that of "Seven", but it is very strong from a technical point of view.

He chooses only a bold director who is not interested in the feelings of the audience.

Only a skilled filmmaker who is not afraid of criticism and does not seek to please the audience at the expense of his artistic subject is breaking genre rules.

Hancock deals with the investigation as if it is the background of the film and not its material, because the man is concerned with the psychological complex of your past experience more than just revealing the criminal.

He is also interested in cocky, impulsive Baxter and his reaction after the fatal mistake.

The film shows a kind of parental relationship between Deakin and Baxter to complete the end of the film, or Dickin's sympathy for Baxter because the former went through the same experience.

And the last scene best expresses the height of the psychological complex for each of them, when we see Deakin, who surrendered to the painful reality, deals with Baxter as a child, and says to him a suggestion without dialogues: This is exactly what you went through, one mistake that will change the course of your life .. Please forget what you did and continue your career .

• The most special thing about a movie is that it is not the movie you expect.

The public may not accept it, given its extreme darkness.

• This is not a thriller based on thriller, but rather slow based on performance and the extent of harmony between its characters.

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