drink vodka and blood more or less interchangeably
Роджер Эберт рецензирует "Ночной дозор":
One interesting quality of the film is its use of characters who seem as if they might actually live in Moscow. They have a careworn look. Most Light vs. Darkness movies involve elaborate wardrobes, as if, between Apocalypsi, the warriors refit at a custom leather shop. But the Others look scruffy, drink vodka and blood more or less interchangeably, and speed around the city not in a customized Vampiremobile but in a truck of the sort used to transport refrigerated meat. While indoors, they spend a lot of time in rooms that remind me of Oscar Wilde's dying words: “Either this wallpaper goes, or I do.”
The subtitles for the movie rise to the occasion, literally. They do not simply materialize at the bottom of the screen, but unspool dynamically, dance across the picture, evaporate, explode, quiver and seem possessed. Not since a modern benshi version of the Mexican silent classic “The Grey Automobile” (1919) have I seen such subtitles. Benshis, of course, were the Japanese performers who stood next to the screen during silent films and explained the plot to the audience. If ever a benshi were needed in a modern movie, “Night Watch” is that film.
One interesting quality of the film is its use of characters who seem as if they might actually live in Moscow. They have a careworn look. Most Light vs. Darkness movies involve elaborate wardrobes, as if, between Apocalypsi, the warriors refit at a custom leather shop. But the Others look scruffy, drink vodka and blood more or less interchangeably, and speed around the city not in a customized Vampiremobile but in a truck of the sort used to transport refrigerated meat. While indoors, they spend a lot of time in rooms that remind me of Oscar Wilde's dying words: “Either this wallpaper goes, or I do.”
The subtitles for the movie rise to the occasion, literally. They do not simply materialize at the bottom of the screen, but unspool dynamically, dance across the picture, evaporate, explode, quiver and seem possessed. Not since a modern benshi version of the Mexican silent classic “The Grey Automobile” (1919) have I seen such subtitles. Benshis, of course, were the Japanese performers who stood next to the screen during silent films and explained the plot to the audience. If ever a benshi were needed in a modern movie, “Night Watch” is that film.
