Today’s update is the new movie 4k 13 Hours The Secret Soldiers Of Benghazi, this film will not leave you indifferent, but will immerse you in the atmosphere of war and human duty. year 2012. Benghazi, Libya. A group of terrorists decides to “celebrate” the events of 9/11 with an attack on the American embassy. The six of fighters from an elite special squad are ordered to intervene only as a last resort. But when dozens of lives are threatened, duty and conscience prevail over subordination. And courageous soldiers do not hesitate to enter into battle with a violent militant group. The fight, which for all six, is likely to be the last.
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«He died in a place he didn`t need to be, in a battle over something he doesn`t understand, in a country that meant nothing to him.Â»
The director, who made a significant contribution to the expansion of the cinematic concept of scale, for the second time in his career turns to the consideration of historical events. Earlier, Michael Bay offered to get acquainted with some of the facts of the attack on Pearl Harbor, now the directorÂs attention is drawn to the beginning of the 21st century, when Libyan dictator Muammar Gaddafi was overthrown, but the morals of his subjects still need correction in accordance with the norms of civility and law.
The three-hour epic unfolds within a few September days when agent Jack Silva arrives at the CIA headquarters in Benghazi to guard employees working on the ground with local activists (citizens set up to build a democratic Libya). 13 o’clock explores the meager life of brutal men (just like the selection of handsome men – Toby Stevens, James Dale, John Krasinski), monitoring the safety of more effeminate colleagues, consisting of intolerable heat and equally unbearable uncertainty, when the daily routine on the information board changes literally every hour, and the assumption that Islamists can be Âreformed has not been proven.
Screenwriter Chuck Hogan, who wrote the excellent crime novel The Prince of Thieves, uses in this film the same techniques that bibliophiles love, consisting in maximum empathy for the hero, attention to detail, allowing to affect the metaphysical space, and avoiding declarativeness. Hogan, relying on the documentary research of Professor of Journalism Michael Zakoff, containing a detailed description of the massacre unfolded in Benghazi, the attack taken by a dozen agents, and the management team that was absolutely unprepared for it, recreates characters on the screen that do not cause doubts in their reality, as well as more importantly, it translates the Â13 o’clock from the category of military blockbusters into a full-fledged drama, and asks questions from the field of political philosophy.
The first 40 minutes to the picture represents the heroes, while, given who is the director, the armor-piercing action begins literally from the second scene, and the Battle of Benghazi itself unfolds after an hour and a half. Â13 hours is the quintessence of the action film, only action-sketching and each has a plot, development and climax. By the end, Michael Bay, as if taking an example from the composer Ludwig Beethoven, develops the action of a crescendo, without singing the horror of the battle, but without denying its greatness, embodied in the courage of doomed heroes.
Everything that happens on the screen is the result of field surveys, almost without using the chroma key, which, given the large number of panoramic views – burning trees, the embassy exploded, the territory and interiors are more like an estate, night city views, and so on. any skeptic and cynic. Bay mimics the technique of shooting with one plan, then turns to the perspective from the first person, but for the most part chooses between crane photography and close-ups that best suits the strategy of Chuck Hogan, who is interested in the fate of the heroes and the world, which one of the parties stubbornly does not want, threatening peacekeepers with machine guns and explosion belts.
In the course of the shocking public, open and arrogant attack on the US diplomatic mission, Ambassador J. Christopher Stevens, employee Sean Smith and two agents, whose personalities remain classified, were killed. But the ingenious narrative, albeit of the highest quality, which was, for example, similar in theme and genre “Survivor” with Mark Wahlberg, is not an option for the talented Chuck Hogan. 13 o’clock is unexpected for a mass patriotic movie niche without a molasses, oil and some kind of falsehood, designed to remove any ideological roughness and doubt.
The scriptwriter skillfully displays not the events of the eleventh anniversary of the 9/11 tragedy, but the drama consisting in the fundamental incompatibility of the world of barbarians and the world of culture. No matter how clean the thoughts of US citizens who went to Libya to end tyranny (followed by withdrawing from the life of the Libyans and using the tactics of maximum possible non-interference), they will always be for Aborigines no more than Âenemies and excellent targets for working out the accuracy of shooting illegally distributed weapons.
The Âsavage-civilized man dichotomy is studied not only in the above conventional cross-cultural way, but also addresses the problem of depersonalization, the use of man as a fighting unit. Bey’s state-star-striped flag, a pattern so beloved by Steve Rogers, does not fly, symbolizing triumph, and the charred will soak in dirty water, hinting at the indifference of high-security officers to the safety of a particular soldier (which, in general, provoked that 13-hour hell to be seen by the viewer) and the futility of high thoughts and noble natures to change something in the behavior of those whose children from an early age take a machine gun in their hands or use, for lack of the first, cobblestones.
“13 hours” competently conducts the procedure of abstraction from the aspirations of a particular individual, reaching the level of philosophical generalizations – what is the expediency of staying at the other end of the world in the struggle for a ghostly and unlikely democratic future of a backward country whose population reminds barbarians frighteningly? Neither the director nor the screenwriter give a direct answer to this question, preferring to appeal to the fate of specific people who have fought and fallen. It should be noted that fearing attacks from the lovers of multiculturalism, Chuck Hogan formally introduces a positive hero from the local inhabitants into the plot, but this is deliberately clumsy and unconvincing, which in sum gives a clear stinging and mockery from the author. Michael Bay is uncompromisingly inferior to the screenwriter and does not show himself to be either a happy endÂa supporter or an adherent of a condescending attitude towards the viewer.
In 13 o’clock, Beyu and Hogan, among other things, manage to create not just a presence effect that causes nervous tension, which forces one to cling to the back of the chair, but, paradoxically, it doesnÂt sound – a sense of uncertainty of the upcoming finale. Behind the facade of a seemingly ordinary military drama, lies a philosophy that equally infuriates both ignorant and crazy supporters of non-existent geopolitics, and fashionable socialist-multiculturalists.
What if the savagery of some nations is ineradicable? Perhaps you should not interfere in their pitiful world order, but rather take care of preserving your own achievements, not trying to help, receiving in response curses and attacks similar to what happened in Benghazi. “13 o’clock” glorifies persistent and courageous men, but does not share the views of idealists. It is necessary to be noble, but among the sands and the tormenting heat, in countries where men do not wear pants, but overalls, a handsome man with alabaster skin, blond hair and green eyes has only one possible future – the realization of the right to die. And this is a dubious right, invented by leftist idealists, who advocate the illusory equality and welfare of all nations, for which for some reason only the conditional John Silva is obliged to fight, with active opposition from the unfortunate savages. The work of Bai and Hogan lucidly reminds everyone that John and his companions in the veins are not flowing, and the function of preservation in this game is not provided for them.
Codec: HEVC / H.265
Resolution: Upscaled 4K (2160p)
HDR: Dolby Vision + HDR10
Aspect ratio: 2.40:1
Original aspect ratio: 2.39:1
English: Dolby Atmos
English: Dolby TrueHD 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1
English: Dolby Digital 2.0
Spanish: Dolby Digital 5.1
French: Dolby Digital 5.1
Portuguese: Dolby Digital 5.1
Note: English DD 5.1, 2.0=Discrete
English, English SDH, French, Portuguese, Spanish