Since the tape still cooks a pot of reviews of the Queen movie, so be it, close the gestalt, I'll write.

I never really liked Queen.

The group is good, the soloist is bright, a few dozen songs are not devoid of melodic power, several works like the queen killer I like.

But my heart is with The smiths, Joy Division, Depeche Mode, R. and other U2 - Nirvana - Radiohead.

Considering the “dorobok” and the place in the pantheon - a great, respected band - but I’m personally better at reunion White Stripes or Black Keys than at a concert of a drummer and bass player with a hologram or substitutes from Bad Companu / American Idol.

But - my post will not be about the group, but about the film, and I will evaluate it exclusively from the point of view of audiovisual cinema..

I apologize to all the enthusiastic viewers, but this is not a film..

What I saw on the screen two weeks ago is a 3D visualization of the script, a “run-through”, a ridiculous comic with template characters..

Two-hour video clip, unfinished, sketch, whatever.

But not a good movie, at least in the concept of "great movie" I put another.

Not a single scenic line of the picture is unfolded in full power of the deepest conflicts implied..

All somehow smears, hints, unplayed, unsaid, ridiculous.

But this is such a fertile ground for a film masterpiece!.

The band at the top of world fame, with a provocative name, the soloist and the author is a semi-dimensional, orientation-manifesting compensating gay from an orthodox pious family dying from AIDS.

Such a tragedy could be unfolded, showing real blood, sweat and dirt.

On dozens of Oscars.

Such emotions could have been issued by outstanding actors of our time, and not this robot and its even less talented retinue..

And even though the robot tried, and the retinue - at the level of the plinth and melodramas of Oksana Bayrak.

But damn - a movie, this is when any movie with Nicholson or MacLane, Lewis or Meryl, Sissy or Francis, and t. and t. , their name is a thousand, great actors, you review and in each scene you see new facets, emotions, craftsmanship and the triumph of the craft.

And not this bright garland of scenes, scenery and cliches followed by emptiness.

Yes, in the narrative - important meanings.

The plot touches upon themes of fame, homosexuality, otherness, aggressive world, behavioral stereotypes, deadly disease, touches the intimate mystery of creativity.

The good, the right thing carries the script - and about the adoption of the father and family, and the desire for happiness for the ex-girlfriend and her husband, talks about friendship, about ideals, about hard work and the ability to achieve his - as triggers for success.

But what a clumsy execution.

In the end - conflicts are not developed and not disclosed, attempts to portray the emotions of false.

The scene with the outgoing ex-friend and the rain is ridiculous to the limit, the dumbest template of a youth b-movie, like the scenes of offering hands, working disputes about releases.

In fact, we have - "The Truman Show", flat fake, cardboard fake.

Barbie dolls play much brighter, Stanford wives and Kenes would be much more convincing in the roles of Freddie's girlfriends and friends.

The only thing that somehow fits into the framework of “honest” is the 20 minutes of the concert on Live Aid.

Yes, and then - the chronology was reversed before and after the performance, motives, important conflicts that were missed, and those that were not publicized (solo album, for example).

Excellent musical biopics, IMHO - this is Walk the Line, Ray, and even in Coal Miner's Daugther - conflict, play, light.

Music Movies - Whiplash, 24 hour party people. This movie!.

A "Bohemian Rhapsody" - a comic of the era of the triumphant clip thinking.

But for the sluggish songs, apparently, will go.