Movie Review: Club Skirmish

Rating: 8/10 (1 January 2020)

The ambiguity of the frustrated striker characters is the first reflection on Finch's elaborate run. The violent spirit of an unsuccessful, helpless gray employee, against the soft and societal practices of work, makes him a lawless and cruel man. Alone alone and narrator of the story, he escapes with his imaginary rebellious symbol and escapes the cell of taboos and moral and social fears. The two are missing and the other is a guide. The battle for victory is one that leads them to ultimate victory. Victory is the same as overcoming the two long-standing companions of helplessness: pain and suffering. Physical pain and mental suffering. The two should not be afraid and the two should not be commanded. Physical pain should be packed into fists and knocked over. Every blow they make must foster a rebellion within them - like the germ of a lamb in the face of the death of a helpless fetus. Suffering but not from the skin. All from within. It must be burned in the spleen whether it be pain or pain. You have to stare in the mirror and say, 'I have no pain, so I can get away with it even with pain.

The exciting and energetic play of Pete and Edward Norton himself makes this the path of suffering for the film viewer throughout the tension. The tension that places the viewer in the spotlight like a lazy after work. The Challenge and the Whole Viewer Demands a lot of inside work along with the crude images of the viewer. You have to live inside the net to admire watching and touching on the story of the film: the complex psychotic journey of helplessness, fear and frustration.
We said that the main character in the story is unaware of his duality and rejects it. It is with him that the story begins and is a manifestation of frustration, revenge, and pointlessness. The protagonist of his character is a leader who knows nothing but pain and suffering in this field and has found the path to victory: skirmishes and deadly physical exercises until no force can stand up to him. Have. But the story does not just flow like a zigzag, but into a dreadful basement. The underground I was born in the sixties to remember was the fertile soil around the world that had a garden of happiness and happiness in it. And there are still many who do not come out of this basement.
The two, one firm and the other hesitant, set up a club for training. The leader who kills himself, both in the offensive and in the defender position, confesses to his opponents with impatience. It teaches them that power in the hands of the spirit is hard and fearless, not in heavy fists of hesitation, and ultimately in thought. Doubting winning or losing everything is the key to winning every scary battle. The club fosters youth. It makes them ready to face the toughest of pains and threats. And at the same time, he teaches them that the path to ultimate victory is not just the struggle to the death but the undisputed obedience of the leader. The method of training is also brainwashing. The disbelief of the club members becomes a certainty that they dare not look out from the corridor through the basement. Everyone is on guard.
The club leader, now distant from the staunch pretense of being frustrated, is determined to experience a combination of power. The clash now has the potential of a whole underground group. What was fascinating about the experience of fear and violence now turns into a roaring train of dreams and desires. The dream of power, along with the order of blindness that calls for compulsory obedience, makes the club ready to practice hostage-taking, ransom and terror. In the long run, however, the club is awaiting inconsistencies and disagreements. As long as the two original founders of the club face each other. A frustrated rebel who no longer even knows his own sex stands against his brave orbit counterpart. The bloody controversy is watched by the secret cameras of a parking lot. A young man is shown by the cameras, who are mad at him. He is the film's first helpless employee.

The winner of the bloody controversy at the end of the film is on the rigid and inflexible character of the story. He continues the pretense of disgruntled power and humiliation to the point where it leaves only one option for the opponent, suicide. The loose and shaky character of the movie Now, in the presence of his ardent pretense, he pulls the gun tube and pulls the trigger. One who dies and dies is one of them: a hard head pretending to have shattered his brain. The moment he stands in the face of the violent personality, disgusted with violence and assassination, is the one who is the ultimate victor and ends this story.
It's not boring to break into other themes of the movie. Including making soap from human bodies and the role of women and the status of women alongside these story characters.