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The internal political landscape of 1950's Soviet Russia takes on darkly comic form in a film by writer/director Armando Iannucci. In the days following Stalin's collapse, his core team of ministers tussle for control; some want positive change in the Soviet Union, others have more sinister motives. Their one common trait? They're all just desperately trying to remain alive. (Entertainment One)

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Necrotongue 

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English To be honest, I wasn’t sure what to make of this film at first. It felt weird without Russian language, although I understand that it would be impossible. Some of the jokes didn’t work for me. Gradually, I started having fun, and by the time Zhukov arrived on the scene, I was laughing like crazy. The worst thing about the film was the casting of Stalin, which went horribly wrong and made Joseph Vissarionovich look like a parody of himself. By contrast, Robert Duvall was practically perfect in 1992 Stalin. ()

D.Moore 

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English A completely awesome comedy, and what I like most is the fact that it’s not even a little idiotic. The film humorously talks about serious things without ridiculing or belittling them. The script is packed with tremendous jokes, the cast works together like clockwork (Steve Buscemi and Michael Palin were a safe bet, but when Jason Isaacs' Zhukov burst onto the scene, everything got even better) and not a single joke is left without a point. Hand on heart, the Russians would ban this film even if it wasn't a comedy and if it depicted everything literally and deadly seriously - but then I would certainly have no desire to see it again and again. And again. ()

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gudaulin 

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English Satire is not an easy genre and is highly scarce in the film market. With minimal competition, Iannucci's film would not only be called the satire of the year but with the highest probability, it would also rank among the top in the satire of the decade competition. I do not accept the criticism of the topic being outdated and exhausted. The subtle charm of authoritarianism is successful wherever you look, and the cult of personality flourishes not only in Turkey but also in countries that have not cultivated this tradition before. The audacious struggle for political influence led by all means is a timeless theme, and in Russia, the Georgian Stalin was voted the greatest Russian in a popular vote. Just watch any episode of the Russian documentary series Forgotten Leaders and you will understand how deeply Stalinism is embedded in Russian society. Iannucci has been dealing with satire for a long time and it is his home ground. However, you must forgive him for not wearing velvet gloves in his approach to satire, but rather his cynicism, vulgarity, and shallowness. A problem may arise if you associate satire with slapstick comedy. Although Iannucci is great at working with caustic sarcasm and biting irony, it is far from being a pronounced, lighthearted, and uproarious ride like, for example, Life of Brian was in its time. The film is sometimes chillingly cruel, and its authenticity of the environment and characters may present another stumbling block. It cannot be said that Iannucci failed in this regard - he simply did not care about it or address it. Michael Palin would be a great representation of Neville Chamberlain in a hypothetical satire about the Munich Agreement, but it would be hard to believe in him as Vyacheslav Molotov. Similarly, if I were looking for an actor to play Marshal Zhukov, Jason Isaacs would certainly not be on my list. However, the casting is so remarkable that it earns the highest rating from me. Jeffrey Tambor is simply perfect in his portrayal of the narcissistic weakling Malenkov, but the film is stolen by the mercurial Steve Buscemi as the cunning Khrushchev and the predominantly theatrical, and therefore relatively unknown actor Simon Russell Beale is fascinating as the brutal and cynical Beria. At times, he is truly terrifying and you are glad to be sitting in the movie theater and not face-to-face with him. The Death of Stalin is a film that won't sit well with many people, but I devoured it with relish. Overall impression: 90%. ()

JFL 

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English House of Cards demonises politics as a rotten evil, the Danish government presents an explosive ideal of how politics should look, the classic satire Yes, Minister ridicules the incompetence and stubbornness of top politicians and the Czech Kancelář Blaník takes the blame off of politicians and depicts professionally depersonalised and opportunistic lobbyists as the instigators of all evil. This map, on which every viewer can choose which of these image of politics suits his or her prejudices or ideals, is essentially supplemented by the British satirist Armando Iannucci, who, unlike all the others, depicts politics as uncontrolled chaos. Thanks to this, he is characteristically able to include in his screenplays, with the phenomenal – and for many epigones, inspiring - political sitcom The Thick of It at the fore, all of the above-mentioned views on politics through individual characters. The initial situation of The Death of Stalin is exactly Iannucci's characteristic political chaos, not only in the sense of what started immediately after Stalin's death, but also in the sense of the entire degenerate totalitarian regime of the USSR of late Stalinism, where only incompetents, nutcases, toadies, manipulators and morons remained in high positions, because all of the capable people had been eliminated. ()

J*A*S*M 

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English The perfect film to “celebrate” the Victorious February. It’s very funny and dark, but also chilling when you realise that some of the events portrayed are not that far from the realities of a totalitarian regime. So, let’s hope that the gradual stupidisation of this country won’t make us go through something like this again. Otherwise, when compared to this film, the Czech satire President Blanik looks pretty sad. It’s on another level. ()

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