Why was the most controversial theft option arrested

The spoilers follow.

In the prevailing Hollywood films, especially gender films, there is an undeclared contract between the film and the audience regarding a happy ending. Certainly, the goals of the goals in this matter have moved violently over the decades, especially after the collapse of the production code means that American films do not need to be compatible with morals or good feelings. One of the reasons that make the lines between the end of the “happy” normative and the appropriate method is unclear, thanks to a deeper general understanding of the type – in other words, the audience now realizes that the West around the arms of the weapon may end in the disappearance of the character, just like Noir from Ghamcho, ethically, will not be all in the end. However, there is the assumption, and therefore a movie that seems to deviate from this undeclared promise

with “The theft was caught,” the latest movie from director Darren ArenovskyThis nodes are broken when Hank (Austin Pater), to his girlfriend’s apartment, iPhone (Zoe Cravitz), just to discover that he is very late and that one of the bad criminals who found himself was killed with. It is a development that seems to be a violation of several levels. First, Araunovsky and Charlie Huston (whose novel in 2004 of the same name is adapted) plays quickly and loose with the film’s tone, making it look fun and trivial while allowing the dark elements to crawl. Second, it seems that the death of the iPhone may be an example of the “Leaders” cup, The term Simon generation is formulated and is short for “Women in Refrigerators”, called a notorious number of comic book “Green Lantern”. In short, the term refers to the cup where the violence that was carried out is used on women’s characters only as an emotional motivation for the male hero.

While it seems that the death of iPhone in the “arrested theft” is compatible with this cup on the surface, it is actually much more important than just providing emotional risks. The film tries to tell a story full of outrageous accidents while it remains brave and listening, a balance that makes it completely unique in the scene of crime films, as most of them tend to choose a hot instead of walking between them. IPhone’s killing is something not only stimulates Hank, but also the peak of the entire movie. In other words, while choosing a controversial iPhone killing, the film does not work without it.

“Theft of theft” contains a number of Common Trops in Aronofksy moviesThe main among them is the concept of the oppressed novel. This is combined with a lot of Trops Story Noir/CRIME that Huston brings from his source novel, which has made Hank Thompson a more difficult, emotional and spiritual time than your regular story “gets his head”. This bow itself is a sabotage, as it seems that Arenovsky and Huston have erected the film as a wonderful romantic adventure: Hank, a moderate waiter, who is only involved in seeking a missing pile of money that involves several aspects of the NYC world, because his comrades, Ross (Smith), leaves the country owed to the country. It is all a state of misconception and bad time, as Ross was not trying to disturb his partners in the huge critical range, but they assume that leaving him indicates that, through the forefront, he ended up holding the treasure key.

It is a conspiracy full of wrong identities and the escalating conditions that seem to be heading towards Garce, and it is “a fish called Wanda”, “The Chouse nine yards”, or “the night of the game”. “The theft caught,” as it is, as it is, He does not want this type of movie to beIn the end, an iPhone murder that makes it easy. The murder of the iPhone may be harsh for the film in the way the carpet is withdrawn from under the presence of the hope of more chemistry of the couple, but it is not itching, as it happens outside the screen. It is also not accidental, because it puts the academic and emotional risks for both the movie and Hank itself. Unlike other crime films, Hank is not a former (or currently) professional policeman or criminal; He is an average man, and no one in his life was killed (intentionally, in any case – more about it in a moment). Thus, many extremist killers in the film, especially the Roman Detective (Regeina King), the Orthodox Jewish duo (Vincent de Unofrio) and Riba (Lev Shreper), believe with confidence that Hank is not a killer. They are right, however, LIPA and Shmully-who are good Jewish children, love their mother and notice their faith-Hank’s reminder that the world is spoiling and that killing is an uncomplicated issue of pulling the trigger. When Hank discovers that the duo was responsible for the death of iPhone, the intended murder by them is more likely to feel more likely, more important and more than if Hank was an experienced killer.

Of course, it is true that the sudden exit of IPhone from the movie leaves her character an incomplete feeling, despite a brief moment at the end of her last scene when Cravitz indicates that IPhone may have been ready to “deeper” in her relationship with Hank as she was referring to the movie previously in the movie. Yes, her death is used to motivate Hank in terms of increasing his fear, anxiety, sadness and losses, and in the end, the desire to take revenge. It also stimulates the end of the film, allows Hank’s development as well as closing the plot to completely align. Throughout the film, Hank was shown well but irresponsible, and it passes out of commitment and his deep emotions, something that Yavon was trying to carry to fix it. It turned out that Hank issues stem from a tragic incident in his past, where he and his team were in the Bibl team at high school, D’Araoh Woon-A-Tai drink while driving, and the car accident that left the car wrapped around a damage in the Hank and Dale Dead knee. Hank suffers from repeated nightmares around the accident, and he refused to circumvent the wheel since then. Only through his experiences in the movie that he is finally able to take responsibility for the life he took, unintended as it might be.

In another smart sabotage, Aronofsky and Huston offer the accuracy of the film before its actual climax. After the criminals who were trying to kill him and/or framing him, Hank is backward from the steering wheel, leads Leba and comprehensively to the house (who refrain from driving in observing Shapus), and men who promised that they will leave Hank alone and give him a few hundred problems. This is when Leipa pulled the lighter cigarette that she used to be iPhone, tells Hank and the public that they are responsible for killing her. Thus, Hank enacted the deadly revenge in the only way he knows how: by intentionally breaking the car in Qutb. It is a moment that brings each major objective thread to the movie and personality together: Hank bears responsibility instead of the easy way out, finds the moral logical basis for killing, and makes peace with his past and faces it by reactivating it mainly. None of this will work emotionally or logically without losing iPhone, which proves that her death, although stealing a wonderful actress movie offers a magical performance, is important and necessary for the story. Although the choice is still completely hated and criticized, it is not trivial or irresponsible.