Прачечная (The Laundromat)

В стартпосте какая-то чушь.

Вот описание фильма:

Panama Papers comedy The Laundromat follows Meryl Streep as Ellen Martin, whose dream vacation takes a wrong turn and leads her down a rabbit hole of shady dealings that can all be traced to one Panama City law firm, run by seductive partners played by Gary Oldman and Antonio Banderas. She soon learns that her minor predicament is only a drop in the bucket millions of files linking an off-shore tax scheme to the world’s richest and most powerful political leaders.

И в какого там рода фильмах Стрип застряла не понял, у нее все последние роли наоборот разные и нестандартные.

Художественный руководитель TIFF Кэмерон Бейли

Steven Soderbergh's kinetic dramatization of the Panama Papers expose is part network narrative, part faux-entrepreneurial infomercial, part true-crime epic. Adapted from Pulitzer Prize–winning investigative journalist Jake Bernstein's Secrecy World by frequent Soderbergh collaborator Scott Z. Burns — also at the Festival with his own directorial effort, The Report — The Laundromat stars Meryl Streep, Gary Oldman, Jeffrey Wright, and Antonio Banderas as key players in an intricate worldwide web of greed and injustice, corruption and comeuppance.

 

Having been denied compensation after losing her husband in a ferry accident, middle-class retiree Ellen Martin (Streep) embarks on a personal investigation into the chain of insurance companies inexplicably dodging her claim. As a virtual paper trail leads Ellen to various far-flung locales, we are introduced to a rogue's gallery of supporting players — money launderers, organ traffickers, baffled bureaucrats, imploding families, and deadly narcotraficantes — each navigating micro-dramas of their own.

 

Among The Laundromat's inspired ingredients is its framing device, in which billionaire bon vivants Jurgen Mossack (Oldman) and Ramon Fonseca (Banderas, also at the Festival in Pain and Glory) offer a step-by-step guide on how to become fabulously wealthy by exercising endless loopholes in global finance, scuttling money off the grid, and walking the fine line between tax avoidance and tax evasion. Illuminating knotty economics with an exhilarating combination of great characters and playful storytelling, The Laundromat makes galvanizing entertainment out of outrage.

Интересно сам фильм в таком же стиле будет?

Кадр с русскими :lol:

Мне нравится трейлер, комедийный, даже дуракавалятельный тон для подобной темы уместен. Олдман особенно хорош.

Кадр с русскими :lol:

Постер

Variety

Steven Soderbergh’s “The Laundromat” is a fluky contradiction that works. I’m tempted to call it a brain-teaser — not because it’s some sort of clockwork mystery caper that toys with your expectations, but because it’s a true-life journalistic drama about the new world order of offshore financial corruption (which gets shrouded, by design, in the new world disorder of financial gobbledygook), and it’s a movie you’ve got to put on your thinking cap to watch. But then, Soderbergh knows how to make using your head fun. “The Laundromat” is Soderbergh at his most playful, and also Soderbergh at his most wonkish, and damned, in this case, if the two don’t chime together.

In form, “The Laundromat” is “Traffic” lite, and it has a message that’s even more timely and important: The world — our world — is being looted. And here’s how. But this time, Soderbergh works with a let’s-try-it-on prankishness. He divides the movie into lessons with snark titles like “Secret Number One: The Meek Are Screwed.” He has Streep, in disguise, playing a Panamanian office drone whose anonymity turns out to be an in-joke. And Mossack and Fonseca look right into the camera to inform us that shell companies in Delaware (yes, Delaware) are so common that “the director of this film” uses five of them.

THR

The panoramic approach taken by the director and writer Scott Z. Burns makes for a wide variety of bizarre encounters among people you'd never expect to see in the same movie, but the arch comic tone clicks only part-time, never coalescing into an assured sardonic style.

In direct-to-camera commentary delivered with “What, me worry?” inflections, they justify their behavior in a high-minded manner meant to be darkly amusing but that actually proves increasingly annoying as things proceed.

Despite the filmmaker's obvious smarts and oft-proven skills, there's a kind of off-putting effrontery about Soderbergh's approach here that rather sours the whole experience. The tone is brittle, the attitude arch, the performances by a savvy and diverse cast uneven. The most memorable turn comes from Nonso Anozie, who first worked with the director on The Informant! and here plays a physically imposing, enormously wealthy Southern California man who brutally sets his spoiled teenage daughter straight about a few things.

Tonally unsteady as the film may be, it still seeks justice in the same way the director's Erin Brockovich did two decades ago, with a lone woman leading a lonely fight against shady, obfuscating tricksters.

Throughout, the more the film tells it straight and true, and the less it trades on absurdist and smarmy comedy, the better. Soderbergh and Burns seemingly wanted to emphasize the sheer outrageousness of the scam and have a little fun with it in the bargain, but their satirical aim ultimately doesn't measure up to the sharpness of their ambitions.

TheWrap

Not even Meryl Streep, Antonio Banderas and a miscast Gary Oldman can elevate this would-be "Big Short"

Steven Soderbergh has crafted a sharp and funny tale about rapacious greed and the exploitation of the working class — it’s called “High Flying Bird,” and you should check it out on Netflix if you haven’t already. Also coming to Netflix is Soderbergh’s second feature of 2019, “The Laundromat,” and it’s a well-intentioned hot mess.

For all their good intentions, though, “The Laundromat” flails about, with an excess of bad ideas that undercut the justifiable outrage over the events depicted.

Despite the film’s best efforts, none of these interlocking stories achieve any kind of dramatic traction. One imagines Soderbergh, in “Erin Brockovich” mode, turning one of these subplots into an interesting movie on its own, but “The Laundromat” zigs and zags too frequently for us to care all that much about any of them. And if the narrative portions don’t work, the explanatory bits featuring Banderas and Oldman have nothing from which to hang, and they too fizzle.

ScreenDaily

If there’s cinema to be soaped out of the Panama Papers scandal, Steven Soderbergh hasn’t found it in The Laundromat, a poorly-conceived and -executed film which steals from The Big Short as brazenly as its tax-dodging subjects do from their governments.

TheFilmStage B+

A quick overview would be sufficient to suggest that this is Soderbergh’s answer to The Big Short. Filmmakers have recently woken up to the idea that solemnity is the enemy when dealing with topics of this density: Adam McKay had Margo Robbie explain sub-prime mortgages in a bathtub whereas Soderbergh–with better tact it should be said–has Gary Oldman (speaking in sharp Herzogian consonants) and Antonio Banderas guide us through the particulars. The duo play sequin tuxedo-wearing caricatures of Jorgen Mossack and Ramon Fonseca who show up throughout the film like Gonzo and Rizzo did in The Muppet’s Christmas Carol. Soderbergh has them introduced in a bravado opening long-take during which they explain the evolution of money by trying to give a dollar to a caveman. They get to say lines like “credit is the future tense in the language of money” and “time is just an illusion.” You get the gist.

The Laundromat makes a strong case for being the slickest film of Soderbergh’s effortlessly slick career–skipping, as it does, from the West Indies to Panama and China, and through a wide range of characters without ever missing a beat.

Little White Lies

Steven Soderbergh's playfully ironic take on the 2015 Panama Papers scandal is a slight but enjoyable diversion.

With its fourth wall breaking addresses and attempts to contextualise the scandal through colourful visual data, some might spy echoes of Adam McKay’s 2015 film The Big Short, a work which also looks at people getting filthy rich from gaming the system by manipulating tax loopholes. But this might have a bit more in common with late Luis Bunuel, films such as The Phantom of Liberty or The Discreet Charm of the Bourgeoisie, which are opulent and ironic satires that ask us to laugh through the tears as wealthy aristos walk between the raindrops of decency and shield their eyes from the suffering below.

The Laundromat is a fun ride while you’re on it, but is probably a lesser entry into the director’s esteemed personal canon. While the stories all give the world of crooked accounting a human face, they don’t necessarily tell us very much that we don’t know already, and the structure is too haphazard for any of it to really hit home.

TheGuardian 4/5

Steven Soderbergh’s wickedly entertaining romp loosely based on the uncovering of the Panama Papers is an effective mixed wash of truth and fiction

IndieWire B

Steven Soderbergh excels at exploring the complex systems governing modern society with a delicious ironic tone. With “The Laundromat,” that tendency reaches a grandiloquent extreme. The director’s funny, searing look at the Panama Papers scandal unleashes a cavalcade of goofy fourth-wall-breaking explanations about shell companies, corporate tax laws, and offshore accounts. It has a gun-toting Meryl Streep shooting up a fraudulent insurance company, primitive cavemen to explore the origins of supply and demand, and a cameo by Will Forte as “Doomed Gringo #1.” There’s no telling where this movie will go in its quest to shake up a dense subject.

The slapdash narrative doesn’t always click, and some of the devices are so on-the-nose one can practically hear Soderbergh and screenwriter Scott Z. Burns cackling at their cleverness. At the same time, the frisky energy of “The Laundromat” turns its “money-laundering for dummies” conceit into a robust anti-capitalist screed, so that even the dopey cameos and cartoonish metaphors come tinged with the queasy sense that the bad guys are laughing hardest at every joke.

Soderbergh and Burns have folded that information into a freewheeling ensemble piece framed by its villains from the outset.

 

That device gets heavy-handed rather fast, as the pair wander from ancient times, explaining the evolution of supply and demand, into a neon-soaked party to represent the inner workings of the one-percent. But “The Laundromat” grows far more intriguing when it settles into a series of overlapping dramas to illustrate the sheer international scale of Mossack Fonseca’s corruption.

Soderbergh has said that he was inspired in part by Argentine director Damian Szifron’s delirious dark comedy “Wild Tales,” a brilliant anthology of savage comic circumstances with sharp social commentary to spare. But “Wild Tales” did a lot more showing than telling, while “The Laundromat” applies the opposite strategy with messier results. Even some of the better tangents lead to obvious outcomes